Artist Daily Shop | Help / Customer Service

Underpainting

An initial layer of paint applied to a ground, which serves as a base for subsequent layers of paint and helps to define color values for later painting.

Related Posts

  • Classic, Commercial, and an Art World Constant
    You don't have to think terribly hard to figure out that the painting genre that has all of these characteristics in common is floral painting . It is a practice that has inspired artists to create beautiful, graceful paintings for centuries, but
    Read More >>
  • The Right Stuff
    I work with knitters, and a student recently told me, "I don't like the way my stuff turns out." When I asked her what kind of yarn she used, she replied, "Oh, I just picked up something cheap. I didn't want to spend money on something
    Read More >>
  • That Time of Year
    Recently we added an informative article to the members' area of The Artist's Road called "Understanding Light in the Landscape: The Carlson Theory of Angles." It gives the student a crucial tool to make sense of the confusing array
    Read More >>
  • Sharing Tea and Portraits with Natalie Italiano
    Recently the students at Studio Incamminati went to New York. I chose not to go, instead wandering around the school looking at the drawings and paintings on the student walls. Natalie Italiano , an instructor in the core program as well as a Fellow there
    Read More >>
  • What Do Painters Really Do?
    Do you know how frustrating it is to love something, but not necessarily know everything about it? That's sometimes the way I feel about color. I have such a visual lust for color--learning new colors, discovering new paint mixes, figuring out how
    Read More >>
  • Grandpa Is Wearing His Batman Costume Again
    Earlier this week I was lucky enough to attend the opening of Jason Bard Yarmosky's solo show "Elder Kinder" at Lyons Wier Gallery, in New York City. It's a terrific painting exhibition, and it got me thinking about how an artist can
    Read More >>
  • Painting on Autopilot
    I can't think of a single parent who lolls in the passenger seat of the car, detached while observing their teenaged driver's inaugural foray into the city streets. Sometimes we rest, relax and dream--not, however, when we are actively painting
    Read More >>
  • Artist Mother, Artist Son
    My mom is an artist, but she's nothing like me. For all that, we're both artists. If you want to know where I got my artist genes, I got most of them from her. Genes alone don't make an artist, though. Making art is kind of a stupid career
    Read More >>
  • American Artist Magazine, July/August 2012
    In this issue of American Artist, we look at both the plein air and figurative work of the California art scene. Articles feature the upcoming “On Location in Malibu” exhibition, the philosophies and artwork of NovoRealism, Weekend With the Masters instructor Jennifer McChristian, and the
    Read More >>
  • It's Not What You Know--It's Who You Know
    I've come to realize that that old saying "It's not always what you know, but who you know," is spot on. Even at American Artist magazine . Luckily, "we" know a lot of people, and as a result we have remarkable access to some
    Read More >>
  • Getting Trashed
    I've heard of painting for yourself, for school, for work, but painting for the trash can?! Artist and watercolor painting instructor Jean Haines explains why working this way isn't rubbish at all. Enjoy! The aim of being an artist is to create
    Read More >>
  • Variation By Subject
    Emma Twice , 2009, oil on canvas, 48 x 48. All works by Daniel Maidman. Over the past few posts, we've been discussing shocks to the system as a way of avoiding growing complacent and thoughtless in your art. I shared two of my own tricks— varying
    Read More >>
  • Not Painting
    The Norwegian Artist and I have a friend who specializes in painting small pet animals...that is, when he paints. While to paint regularly, you don't need a huge space, you'll find yourself happiest with a designated one. On the Horizon by Steve
    Read More >>
  • Here's One From the Heart
    In their day, the Hudson River School landscape artists were so popular with the public that people would line up and pay a fair amount of money just to view a single painting. Our plein air blogger Jennifer King shares her insights on why the works of
    Read More >>
  • Words of Wisdom From Antonio López García
    I'm sure many of you are aware of the Spanish living legend Antonio López García, but I'm ashamed to say I was not familiar with his artwork until recently. And as with any new discovery, once you become aware of a new person, place
    Read More >>
  • 4 Ways to Paint Without Preconceptions
    Short of lobotomy, we will always have the equivalent of mental trails that our brains follow when we are painting. Artists develop these based on painting techniques that they've learned along the way, or they can be expressions of inherent ideas
    Read More >>
  • Value Division in Landscape Painting
    Landscape values are easier to understand when viewed as falling into four major divisions or zones. Reading values in landscapes is somewhat different from reading values in other subjects. All subjects have a light source, but the source in a landscape
    Read More >>
  • Silver Bullets and Miracle Pills
    Different people attend painting workshops with varying expectations, but the ones who get the most out of the experience are those who recognize that workshops are not: A workshop gives you the opportunity to start at one point in your artistic journey
    Read More >>
  • Lucian Freud Had Great Skin
    I started off seeing skin tones in a closed off way, not really pushing to find the dimension and depth right in front of me. I almost felt I was still pulling a Crayon out of the box to color a figure's form from head to toe like I did in childhood
    Read More >>
  • Now Everyone Squeeze Together
    It's funny how I have gotten so immersed in art that I tend to project very human emotions or ideas to inanimate objects in paintings and drawings. Still life painting objects that don't spatial connect in some way most often won't connect
    Read More >>
  • Toning Your Canvas
    A few weeks ago I had a studio session with Lea Colie Wight , a great painter who had a really lovely tone to her oil painting surface that many of us loved and wanted to know more about. I wanted to share that info with you! Canvas Toning Process The
    Read More >>
  • Get Your Work Seen By 100 People a Day
    Yep, it is a pretty lofty goal. I know it. But there are so many incredible artists out there who are doing incredible work and deserve more visibility! Here are a few ways that you can elevate your artistic profile in the wider world. By no means are
    Read More >>
  • Painting Into the Light
    One of the major challenges of painting outdoors is the need to gather enough visual information about our subject in a brief moment of perfect light. In rushing to capture the light in nature, it is easy to lose those subtle details and tonal changes
    Read More >>
  • How Do You Pick the Right Workshop?
    Whether or not you like to be around a lot of people is one thought to consider when you choose the right workshop for you. Descent into Bryce by Steve Henderson, 18 x 18, oil painting, also available as a limited edition signed print . Let's assume
    Read More >>
  • He's So Sketchy
    But in the very best way! When I was trolling for artists who draw like they paint and vice versa, Giovanni Boldini immediately came to mind. His mark making is a tour de force, no matter if he is working in oils, pastels, or when charcoal painting. Spanish
    Read More >>
  • The Lost Art
    Losing a painting somewhere is never fun, but losing a good painting can drive one to temporary distraction. While teaching our plein air painting workshop in Rocky Mountain National Park last September, I was demonstrating the direct-painting method
    Read More >>
  • Should You Take a Workshop?
    I deliberately entitled this post using a word that I have eliminated from my vocabulary: Should. Like sunrise to a new day, the right workshop can lead you to fresh new beginnings in your art pursuits. Awakening by Steve Henderson, 24 x 40, oil painting
    Read More >>
  • Your New Free eBook: Step by Step Painting Techniques
    Painting is a deep and vast ocean. It is a world full of possibilities. And while I am deeply drawn to that wide-open aspect of it, I'm also super intimidated by it too! I feel like there is no limit to what I can learn, and while I'm thirsty
    Read More >>
  • Is It Ever Too Late to Start Painting?
    Not if artist Claudia Seymour has anything to say about it. This year I had the pleasure of meeting Seymour at the Salmagundi Club in New York City to create two three-hour DVDs with her, including this year's The Art of Painting Flowers in Oil .
    Read More >>
  • Art For Thought: Great Artists, Great Paintings
    A Summer Night by Winslow Homer, 1890, oil on canvas, 30 3/16 x 40 3/16. The word "great" (or "greatest") can be pretty subjective, and lately I've been thinking about how to better qualify the term. To celebrate our 75 th Anniversary
    Read More >>
  • Think I Can Get Batman to Sit For a Portrait?
    Portrait painting is serious business. Truly, there is a lot at stake for the many professional portrait artists out there who paint dignitaries, presidents, and the like. But portraiture can also be incredibly fun! A show I recently saw at Elisa Contemporary
    Read More >>
  • Licking the Dog's Nose
    A friend mentioned to me that someone challenged her to read, within one year, a particularly long and demanding book. "I didn't really want to do it," she confessed. "But he's knowledgeable and he was insistent, so I did."
    Read More >>
  • Pick Up a Few Pointers from This Dutch Master
    A willingness to experiment with perspective and style is often the determining factor between a competent artist and a master. A new exhibition at the Philadelphia Museum of Art , "Van Gogh Up Close," takes a compelling look at the choices
    Read More >>
  • How I Built an Art Network in My Hometown
    Patricia Watwood is a skilled oil painter and incredibly deserving of a lot of praise for the art career she has built for herself. She's also quite willing to share her approach to building a network for her art, as she attests below. Enjoy! The
    Read More >>
  • It Means Never Having to Say ‘No’
    One of my first self-assigned duties at Artist Daily was to get out in the local American art community and see the kind of work that is being made all over the country, what kind of art techniques are gaining in popularity, and how artists are communicating
    Read More >>
  • The Complete Painter's Handbook
    In our new special issue, American Artist guides you through the most important aspects of the painting process, from selecting your materials to preparing a canvas to advanced techniques for accurately depicting landscapes and figures.
    Read More >>
  • Same Subject, Different Visions
    On Location with Michael Stasinos and Mitchell Albala It never ceases to amaze me how unique each painter's vision can be—in everything from the subjects they choose to the color choices they make or the type of painterly handwriting they use
    Read More >>
  • Is It Better to Learn From One Artist or From Many?
    While I was working recently on American Artist's new special issue, The Complete Painter's Handbook ( order now! ), I had a little debate with myself. The question at hand: If you are working to learn how to paint, is it better to focus on following
    Read More >>
  • Here Comes a Video Series on Portrait Painting
    Portrait artist and painter David McLeod is amidst an exciting project: creating a 10-part video series on portraiture . McLeod takes viewers through the steps that all portrait artists go through to create a compelling, visually appealing portrait, but
    Read More >>
  • Why Can't You Be Blue Over Me?
    Where would painting be without the color blue? It is so easy to obtain artist paints of any hue these days that we forget that in the time of both Michelangelo and Titian, a pure, vibrant blue pigment could only be made by laboriously cooking and hand
    Read More >>
  • Taking Off the Straightjacket
    I am not a finicky person, so getting my hands dirty to get a job done is totally fine with me. But with painting, I can get so uptight and hesitant that the physical joy of it all goes right out the window. I'm trying to be better about what I'm
    Read More >>
  • If This Sounds Harsh, Forgive Me...
    Below you'll find artist and blogger Jennifer King's discussion of when a plein air painting can be too real. I don't think she's being harsh at all, but you'll have to decide for yourself. Enjoy! ***** I think it's time for some
    Read More >>
  • Art for Thought: My Eye It Is A-Changin’
    There was a time in the not-so-distant past when my interest in art history stopped at Post-Impressionism. When I read art books and visited museums, I was instinctually drawn to artwork from the Italian Renaissance through Impressionism and curious to
    Read More >>
  • Man's Best Friend Is Art's Best Friend Too?
    We have always felt that as plein air painters we are observers of the landscape—recording moments and places that can rapidly transform with fleeting changes of light. In a pure landscape, figures and animals are rendered small and insignificant
    Read More >>
  • Want to Show Painting Improvement Now?
    Portraiture is, in my humble opinion, the domain of artistic masters. All the greats, such as Velazquez, Rembrandt, Goya, and Sargent, can be counted as incredibly skilled and innovative portrait artists in addition to being pretty brilliant at everything
    Read More >>
  • The Truth About Drawing Faces in One Free eBook!
    Woman with a Hat (detail) by Henri Matisse, 1905, oil on canvas. Archimedes (detail) by Jose de Ribera, 1630, oil painting. Self-portrait by Vincent van Gogh, 1888, oil painting. A few days ago I was hanging out with a mixed bag of artists. And by mixed
    Read More >>
  • The Lasting Influence of Illustration
    I love that my job allows me to learn something new every day—and the fact that the majority of those discoveries are art-related make them all the more inspiring. Lately I've been in art-historian mode, and I've have been trying to better
    Read More >>
  • Putting the Air in Plein Air
    I don't care how many times I see Monet's paintings, they never cease to inspire me. I just had the great pleasure of seeing the new Monet show at the Cincinnati Art Museum with my art buddies, and especially for those of us plein-air artists
    Read More >>
  • Solving the Mystery of Monet
    The Water Lily Pond by Claude Monet, oil painting, 1899. Mitchell Albala is an inspiring art instructor in the field of landscape painting , and it turns out he's an awesome detective as well. Recently, he did some sleuthing on a rare video clip of
    Read More >>
  • Your Paintings Reviewed By the Finest Artists in the Country
    The SourceTek cover art competition opened March 1. It's always an exciting prospect to have your work seen by artists whom you respect and admire. SourceTek, maker of canvas panels, plein air panels and more, certainly agrees. For fourteen years
    Read More >>
  • He’s So Freakin’ Formal!
    Yellow Pen by Nat Meade, oil on linen, 24 x 20, 2011. Focusing on formal concerns in art does not make an artist uptight or unimaginative. Quite the opposite actually—pursuing matters of pattern, line, space, and color can prove to jumpstart free
    Read More >>
  • Painters Who Made the Biggest Splash
    Sometimes the question shouldn't be what to paint as much as how to paint. There are centuries' worth of artists who fill art history textbooks, but those who stand heads and shoulders above the rest do so because they turned their painting art
    Read More >>
  • Is White Really a Color?
    There are differing opinions among color theory purists whether white should be considered a color at all, since it represents the absence of hue or chroma, and cannot be made from the three primaries, as black theoretically can be. It's not usually
    Read More >>
  • Artistic Keys to the Kingdom: Flexibility and Discipline
    Artist Daily Member Spotlight: Steve Henderson Summer Breeze by Steve Henderson, oil on canvas, 24 x 24. Artist Daily: Tell me about your oil painting process . Are there rules you adhere to or just the opposite? Steve Henderson: Although I do follow
    Read More >>
  • Beating the Winter Blues
    Call it the blues, call it the doldrums, call it what you will--it seems that many of us plein-air painters go through a slump about this time of year. Even if the weather is good enough for painting outdoors, nature isn't always at her finest when
    Read More >>
  • Reflections on Creating an Artistic Body of Work
    Inkhead , 2009, oil on canvas, 29 x 16. Dorothy , 2010, oil on canvas, 14 x 14. Anakin Padawan , 2009, oil on canvas, 44 x 28. I have been blogging this past year about preparing for my exhibit, "Myths and Individuals." Now, it's time for
    Read More >>
  • 3 Techniques Moved Me to the Head of the Class
    At least I feel that way. I set myself a goal this week—I wanted to learn a few new watercolor painting techniques because I feel like when I contemplate working in watercolor, I only know the "first gear" approaches. I feel like Tim Saternow
    Read More >>
  • Art Dieting: Skip Dinner and Paint It Instead
    When I was young and taking art classes, I was always stumped when my teachers would let us decide individually what to paint. There were just too many creative options and I would simply shut down. One time I went home in a funk, stressed out about what
    Read More >>
  • Painting for the (Trash) Bin
    The aim of being an artist is the ability to create. But with this desire of wishing to constantly achieve wonderful paintings that can be framed or exhibited comes an enormous amount of pressure on our shoulders. We expect to always succeed in our goal
    Read More >>
  • If You’ve Been House Hunting, You Know What I Mean
    Have you ever been looking for a new place to live, visiting different apartments or houses, and every time you experience a new reaction to a place and its spaces? It always happens to me. Either I love the architecture and light in this one, or the
    Read More >>
  • Our Newest eBook on Mixed Media Painting Techniques Has Arrived!
    Intimate Gathering by Russell Irwin, 2002, acrylic and torn paper on board, 48 x 60. When I was flipping through the American Artist magazine archives for mixed media art inspiration, I was prepared to do some pretty extensive digging. I assumed that
    Read More >>
  • Playing Studio Detective with a Monet Painting
    If there were any artist, past or present, into whose studio I could magically transport myself and observe him paint, it would be Claude Monet. I have always been intrigued by his painting style, especially his highly textured and complex surfaces. When
    Read More >>
  • Fish, Lemons & Glass Bowls
    Dutch still life painting set the standard for out-of-this-world virtuosity in the 17th century, and I'll never get over the unusual mix of objects artists chose to depict: food of all kinds, polished silverware and gleaming glass, embroidered and
    Read More >>
  • I Heart Contemporary Painters Who Use Classical Methods
    Artists working today that I admire most all usually have one thing in common—they have developed their own unique contemporary practice while still utilizing classical methods. I've come to realize that I have a bias for artwork that has a
    Read More >>
  • Only As Good As the Hand Wielding It
    A painting brush isn't animate. It isn't going to teach me how to paint or go about painting art when no one is looking. It needs the hand of the artist to do its job. Penitent Mary Magdalene by Titian, 1560s, oil on canvas. But one thing a brush—by
    Read More >>
  • Educate + Inspire + Equip
    Old Cedar by Bill Guffey, oil, 18 x 24. Peasant by Joan Langdon, watercolor painting, 10.5 x 11.5. Tomiko by Adriana Guidi, oil on canvas panel, 14 x 18. That's Brian Neher's mantra for his upcoming free art contest , and it is one that I can
    Read More >>
  • Are Your Colors Going to Be "In" This Spring?
    I know it is only January, but I'm already thinking spring! And so is the Pantone Color Institute . The organization has just released their seasonal color report, and while this is specifically written for the fashion and design industry, we art
    Read More >>
  • Color Wars
    When I asked friends and colleagues about landscape painting artists with the best use of color, the conversation got downright heated. Mostly because there's so much to consider when you look at each individual artist's color "theory"
    Read More >>
  • The Cosmic Dance en Plein Air
    Spring in the Hills II by John Hulsey, 5 x 7, oil painting. Whenever we get to feeling that there is nothing really new to be discovered in art or the world, we have to keep in mind that the "undiscovered country" often lies in our own backyards
    Read More >>
  • Why Collect Art?
    Children on the Seashore by Joaquin Sorolla, oil on canvas, 1903 . I was once again reading through my copy of the catalog for the 1989 exhibition, The Painter Joaquin Sorolla , and came across this 1933 quote by John Paul Getty in an article called Creative
    Read More >>
  • Do It with a Stranger
    Eva Mullarky by Kristin Künc, oil on linen, 9 x 13, 2011. I can be a really hard sell when it comes to portraiture because from a beginner painter's perspective, I'm not always sure how to get the most out of a portrait painting session.
    Read More >>
  • Insane: They've Never Seen Contemporary American Paintings Before!
    Venus Awakes by Patricia Watwood, 2011, oil on canvas, 38 x 34. Karen in White by Paul McCormack, oil on canvas, 40 x 29. Enigma (Self-Portrait) by David Leffel, 2009, oil on canvas, 52 x 34. On Sunday, January 22 nd , the ACOPAL group will celebrate
    Read More >>
  • Painting with a Magical Medium
    Astor Place by Emily Falco, watercolor painting, 14 1/2 x 14 1/2, 2009. It warms my heart when I hear artists expressing excitement about their chosen painting medium because artists are the ones in the business of knowing all the ins and outs of their
    Read More >>
  • Photograph Your Art Like a Pro
    Our contributing bloggers John Hulsey and Ann Trusty of The Artist's Road wrote a really informative blog about how to get the most out of a photograph of your painting or drawing, and I wanted to share it with you. Enjoy! Film holder frame attached
    Read More >>
  • What Would Rubens Do?
    Leah by Patricia Watwood, pencil on toned paper, 18 x 14, 2011. I have just finished two big projects. Foremost, my show Myths and Individuals opened at the end of October at Saint Louis University Museum of Art. In two months the show will open for it's
    Read More >>
  • A Fresh Foray with New Artists
    I get excited and a bit chagrined whenever I discover oil painters of the past that I've never heard of. I realize that I'm no walking encyclopedia, yet I like to think I've got sound footing in oil painting . But the history of fine art oil
    Read More >>
  • Don't Let Your Plein-Air Skills Grow Cold
    Don't give up your plein air focus over the winter months. Try to paint from life indoors and keep sketching. ( Melting Snow by Ben Fenske, 60 x 75, oil on canvas.) For some of us, winter weather is just a bit too unpredictable and chilly to spend
    Read More >>
  • It Calls to Me…My Precious
    Precious by Russell Irwin, paper mosaic. Okay, that might have been a little too Gollum from Lord of the Rings , but Russell Irwin's latest mixed media collage titled Precious is certainly mesmerizing because of the unusual creative process that goes
    Read More >>
  • Paint the Body Parts That Turn You On!
    Back II (Joshua) by Martha Mayer Erlebacher, 2003, oil on canvas, 42 x 42. The human body is beautiful—as a whole and in its parts. Body drawings that accentuate the sensuous lines of the body and the power of the human form are steeped in a knowledge
    Read More >>
  • Why I Workshop
    We spent a lot of painting time along the cliffs outside San Juan. Painting can be a pretty isolating affair, and though I love the alone time spent with my muse, I miss the collective energy that working in a group of like-minded colleagues provides
    Read More >>
  • Come Winter, I Head to the Hothouse
    The botanical gardens in Washington, DC, near the Capitol. When I'm visiting family in Virginia during winter, I always make a point to walk through the botanical gardens near the Capitol in Washington, DC. It is one of my favorite places, and the
    Read More >>
  • Shrink Your Painting—Does It Still Work?
    Philadelphia Story II--Spires by Sarah Yeoman, watercolor painting, 14 x 20. I don't mean literally shrink it, but if you take a photo of your painting and reduce it to thumbnail size and it still holds together compositionally, you've got a good
    Read More >>
  • Skies Don’t Have Brushstrokes In Them
    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
    Read More >>
  • Such a Diversity of Shapes in Her Landscape Paintings
    Turquoise Sky 3 , acrylic on panel, 5 x 5. All works by Lisa Snow Lady. I give a lot of credit to professional and semi-professional artists who seek out ongoing training or the advice of peers, even after their initial successes. I firmly believe that
    Read More >>
  • I Can’t Believe I’m About to Say This, But…
    I plan on spending quality time with the catalog published by the Whitney Museum on Lyonel Feininger ( Gaberndorf II , oil on canvas, 1924, 39 x 30.5). Take this time and don't draw or paint. Okay, I was kind of thinking the world would end if I said
    Read More >>
  • Ala Carte Your Art
    Grisaille copy of Jacques-Louis David's Patroclus , oil on linen, 48 x 78. At this time of year, we all travel so much that it can be a real challenge to figure out how to bring our painting supplies with us when we visit family and friends. Whether
    Read More >>
  • The Artist Watch List—Are You On It?
    In the December/January issue of American Artist magazine, the editors and staff put out feelers throughout the art community to find artists who are established or up and coming, and deserve recognition. They had limited space in the print issue, so
    Read More >>
  • How I Built an Art Network in My Hometown
    The Honorable Clarence Harmon, Mayor of St. Louis by Patricia Watwood, oil on canvas, 24 x 18, oval, 2002. Collection of St. Louis City Hall. Someone recently asked me what I did to get recognized and become part of the art scene in my hometown of St
    Read More >>
  • Your Free Portrait Painting eBook--But I Didn't Get a Chance to Gift Wrap It
    Ariadne by Janet Rogers, watercolor painting. Since coming to Artist Daily, my parents are both super supportive of me and our web community. My mom does her best to get everyone she knows to join us at Artist Daily, and my dad buys me art supplies in
    Read More >>
  • You Paint Them By Not Painting Them?
    T o Be Where There's Life by Ryan Coleman, oil on canvas, 30 x 40, 2010. The coolest thing I ever learned about painting flowers , specifically how to paint a rose, was when a painting teacher told me that you paint them by not painting them. Back
    Read More >>
  • Free Video Lesson on Color Strategies in Plein Air Painting
    This short video is excerpted from a demonstration I gave at my annual plein air painting workshop in Skagit Valley, Washington. ( Gage Academy of Art , July, 2010.) The video talks about painting strategies in general and gives specific examples of the
    Read More >>
  • Surviving the Trauma of an Art Breakdown
    I remind myself that even artistic legends like Michelangelo struggled. When he did the Sistine ceiling in fresco, a medium he wasn't familiar with, the first few sessions were stressful and trying for the artist. But he persevered and created one
    Read More >>
  • Video Lesson on Using Photos for Studio Landscape Paintings
    Upper Ridge at Dusk , 2011, oil on panel, 18 x 18 . Mt. Shuksan in Sunlight , 2010, oil on panel, 12 x 12. At my April 2011 exhibition at Lisa Harris Gallery, I gave an hour-long presentation on my "In Sunlight" series. This was a special opportunity
    Read More >>
  • Painting with Dreams, Memories, History and Myths
    Sonata of the Sea--Finale by Mikalojus Konstantinas Čiurlionis, 1908. One of my favorite movements in art is the Symbolist movement of the late 19 th and early 20 th centuries. The artists were so free in exploring what mattered to them—personal
    Read More >>
  • How I Restored Freshness to My Work
    We've been discussing shocking your system to keep your art practice from falling into routines. Another excellent means of accomplishing shock is to switch media. By and large, I work in two media: graphite and white pencil on toned paper, and oil
    Read More >>
  • It's an Excuse to Paint Umbrellas
    The Coming Storm by George Inness, 1879, oil on canvas, 27 1/4 x 41 3/4. Are you as bored of pretty outdoor painting scenes as I am? My eyes just seem to glaze over when I see a plein air painting scene with picture perfect sunlight over an idyllic landscape
    Read More >>
  • 3 Things I've Got to Have to Keep Going
    My family and I at my opening. Cute bunch, right? The show included works from the last 10 years. I know it's been a while since I've written. Let's see--the last time was just when I got back from my summer vacation. And now it's....November
    Read More >>
  • "Let's Get Physical. I Wanna Get Physical..."
    Ugh, after all the holiday eating I've been doing, I should probably go exercise or run laps. But as a warm up I thought I would talk about physicality, power, and movement in oil painting . Maybe this'll be the inspiration I need to get off my
    Read More >>
  • That Painting Just Said ‘Eat Me!’
    This being the day after Thanksgiving, we celebrate leftovers in my house—and pretty much all other activities that result in eating. So I thought, why mess with family tradition? I'm devoting today's column to one subject matter I rarely
    Read More >>
  • Photograph Your Art Like a Pro
    All the hard work and unique vision that we pour into our painting and drawing can result in artwork that we are proud of. The next step is to make an accurate photographic record of our art to share with friends, collectors, galleries and perhaps to
    Read More >>
  • I'm Scared--What If I Freeze Up When I Paint This Way?
    Faded Glory by Rose Frantzen, 36 x 48, oil painting. If there were daredevils of art, I certainly would not be one of them. I'm always hesitating and rethinking what I'm doing. (In my day-to-day life I'm not such a scaredy cat—I swear
    Read More >>
  • This One Is From the Heart
    Lake Tahoe by Albert Bierstadt, 1868. In their day, the Hudson River School landscape painters were so popular with the public that people would line up and pay a fair amount of money just to view a single painting. So I think it's safe to say that
    Read More >>
  • Can You Outgrow Your Art?
    Train Tracks by Valerio D'Ospina, 2011, oil on melamined MDF, 30 x 24. Some artists such as Jackson Pollock discover and use their own visual language to communicate with the world, and this singular voice takes them through an entire career of putting
    Read More >>
  • Bringing Artists Together
    I want to share an inspiring story I just heard from one of our members, Mark Beale . Enjoy! Bryce Canyon by Bruce Stam, oil painting, 8 x 10. Backwater Twilight by Mark Beale, oil painting, 9 x 12. Bruce Stam and I are two landscape painters from opposite
    Read More >>
  • Wild But True: I Want to Paint Light
    Lee's Ranch - Sunny Day by Camille Przewodek, 9 x 12, oil on canvas. Even now it sounds like a beautiful, incredible, impossible thing to accomplish. I mean, paint light ? It seemed like magic to me at first. And I didn't understand what it all
    Read More >>
  • Art That Reminds Me of Home
    During this time of year I like to reflect upon and appreciate all the blessings in my life (...also eat a lot of carbs and watch TV marathons). But lately I've been dwelling on how lucky we are to have so much amazing art created and inspired by
    Read More >>
  • Breakfast of Champions: Free Still Life Painting eBook!
    The Remains by Joe Gyurcsak, 2007, oil painting, 24 x 24. If I start my morning with a bit of artistic inspiration, it really carries me through the whole day, just like a wholesome breakfast does! And today is a very good day because I was able to begin
    Read More >>
  • Can a Caricature Help My Portrait Painting? Plus Our Self-Portrait Contest!
    The Grimaces by Louis-Leopold Boilly, 1823, lithograph, 13 1/8 x 10. A few weeks ago I was in the Met and saw "Infinite Jest," an exhibition of drawings and prints that explore satire and caricature from the Italian Renaissance to the present
    Read More >>
  • Paint the Place You Call Home
    We plein-air artists seem to put a lot of emphasis on traveling to far off places to paint, don't we? The fields of Tuscany, the rugged California coast, the farmhouses of the Cotswolds all seem to beckon. And heeding that call can be fantastic. I
    Read More >>
  • Priceless: A Representational Artist Who Understands Abstraction
    Delphinium by Sherrie McGraw, oil painting, 8 x 10. Sherrie McGraw's work always surprises me because she doesn't allow the objects she is painting to dictate how she paints. Instead, McGraw paints to articulate form, masses, and her own ideas
    Read More >>
  • Will You Please Put Some Clothes On?
    Portrait of Queen Elizabeth I by Nicholas Hilliard (attributed), 1585. I can only imagine the excitement and thrill of sitting for any one of the great portrait painters in history such as Bronzino, Velazquez, and Sargent. But then my mind goes directly
    Read More >>
  • Don't Set Yourself Up for Failure from the Start
    Optimal Orientation of Subject and Artist in Plein Air Before the first daub of paint is squeezed out of the tube and brush is put to canvas, many plein air painters have already set themselves up for failure. How? By selecting a site that doesn't
    Read More >>
  • Take a Peek at Jamie Wyeth’s Watercolors
    This is one of the artist's more traditional pieces in terms of his painting process. ( Raspberry House by Jamie Wyeth, 1988, watercolor, 22 1/2 x 28 1/2.) Watercolor is one of those wondrous materials that can be manipulated in so many different
    Read More >>
  • Tricky Stuff--Limit Your Focus & Expand Your Painting Options
    Demonstration: Exploring Composition Through a Limited Focus A "limited focus" isn't limiting at all, but expands our options in composition The first compositional move any painter makes is to apply a limited focus. Whether it be a still
    Read More >>
  • He Was Rejected Over and Over
    Camille au métier by Claude Monet, 1875, oil painting. "My rejection at the Salon brought an end to my hesitation [to settle in Paris] since after this failure I can no longer claim to cope... alas, that fatal rejection has virtually taken
    Read More >>
  • The Bravest Painters I Know...
    ...are ones that paint self-portraits. As we all well know, artists have a lot of firepower at their disposal. It comes from being trained to look critically and creatively at the things you see. For an artist to turn that kind of acuity on him- or herself
    Read More >>
  • Capturing a Sense of Place--What Does It Mean To You?
    When discussing landscape painting , we often hear the phrase "capturing a sense of place." What does that mean to you? To me, it means so much more than just recording the physical attributes of the location. It goes way beyond suggesting the
    Read More >>
  • Calling Him a Landscape Painter Would Be a Stretch
    Anselm Kiefer is not a landscape painter by any stretch of the imagination, and yet his incredibly powerful work is based in and of the land. Observing his mixed media paintings and sculpture has taught me a lot about what a truly impactful landscape
    Read More >>
  • Anselm Kiefer’s Landscapes Are Anything But Picture Perfect
    But that is exactly what makes them so powerful. I've never been more moved by seeing a work in person than I am when I see Kiefer's. They floor me. As I said in my other post on Kiefer , it certainly has to do, in part, with the fact that his
    Read More >>
  • Are We Wired for Beauty?
    Flamenco by Ann Trusty, oil painting, 48 x 60. The science community is busy investigating the mechanisms and processes by which people are able to perceive the world around them and make visual sense of it. There are many basic questions still to be
    Read More >>
  • He’s Nobody’s Fool When It Comes to Putting a Painting Together
    Breaking the Light by Don Demers, 24 x 36, oil painting. Don Demers knows that inspiration is always there if you know how to look for it, but he's also nobody's fool—he understands that to create a breathtaking and moving painting you sometimes
    Read More >>
  • His Painting Palette Was the Size of a Piano Top
    Under the Awning by Joaquin Sorolla, oil painting, 1910. "There is nothing truer than truth. All the mistakes committed by great artists are due to their having separated themselves from truth, believing that their imagination is stronger...There
    Read More >>
  • Just Put a Nail in the Wall and I'm Done
    Isn't hanging a painting as easy as that? Yeah, right! There are so many ways that you can showcase your work, and each one can make such a difference in how each painting or drawing is perceived. Unframed. I prefer the art that I have in my apartment
    Read More >>
  • A Very Different Kind of Landscape Painting
    Ernest Lawson (1873 - 1939) came to maturity at the dawn of the 20th century, so his work was modern and gritty and real. His are not the idyllic landscape paintings of Corot , nor are they the dazzling light shows in Monet's plein air paintings
    Read More >>
  • Painting a Season in All Its Glory
    Study for Gapstow Bridge in Sunlight by Bennett Vadnais, oil on canvas, 12 x 16, 2007. Fall is my favorite time of year. It's my birthday season, so of course I'm partial, but I also just love the smell of autumn. It's crisp and clean, and
    Read More >>
  • Plein Air Painting, Fall 2011
    The last two editions of Plein Air Painting were a huge success—they flew off the shelves—and now the newest edition of the beloved magazine is back with even more on-site landscape painting instruction, handpicked by the trusted editors at American Artist, introducing the new special-issue
    Read More >>
  • Portrait & Figure Painting Highlights
    Reflect Your True Vision with Accurate Form Now you can paint the human form with the depth and detail it deserves - your artwork will come alive with this exciting special issue from American Artist: Portrait and Figure Painting Highlights Fall 2010. Improve the detail of your portraits with 100 pages
    Read More >>
  • American Artist: Everything You Need to Know About Plein Air Painting
    20 Top Artists Reveal How To Adjust to Regional Sites, Pack What You Need, Scale-Up Sketches, & Travel Safely Abroad; The history of the Plein Air Movement, and much more!
    Read More >>
  • 3 Tricks So People Remember My Painting
    Notice how the composition of this sparse still life is deft--from the angle of the bottle to the serpentine curve of the ivy sprig. (Dried Ivy by Kristin Kunc, 8 x 12, oil on linen, 2008). I'm not a knick-knack girl, but I do really have a connection
    Read More >>
  • Painting with the Sight-Size Method
    I'll be honest with you all--I am not a painting technician. I read a lot about art and, as you know, love to look at paintings and drawings all day long, but I am still a babe in the woods when it comes to many methods and approaches to painting
    Read More >>
  • Can’t I Be Part of a Painting Dynasty?
    Paris by Danny McCaw, 24 x 16. Not to be a whiner, but I don't have an artistic legacy to build on. So far as I know, no one in my family is an artist or has any particular leanings towards painting or drawing. That's why I'm so enamored with
    Read More >>
  • Please Forgive Me If This Sounds a Little Harsh...
    But I think it's time for some straight talk. I've participated in many, many plein air painting critiques over the years, and I can't begin to tell you how often I've been faced with landscape paintings that are a little off. Perhaps
    Read More >>
  • I Could Start Every Painting This Way
    Here's the oil painting by Casper David Friedrich that I have on a postcard called The Sea of Ice (1824, oil on canvas, 38 x 50). In college, I created a series of mixed media collages that incorporated several of the same images, but each looked
    Read More >>
  • Before You Accuse Me, Take A Look at Yourself
    And I am! I'm calling myself out on the carpet. I've got a handful of mirrors in my apartment and don't take advantage of what is right in front of me. Which is why I'm fired up about getting people to do more self-portraits--including
    Read More >>
  • You Want a Free eBook on Making Color Work When Pastel Painting, Right?
    Manhattan Nocturne by Frank Federico, pastel painting, 20 x 24. I have a tried and true love affair going with color. I'm drawn to it across the spectrum, but I'm a late bloomer when it comes to pastel painting, which has to be some kind of crime
    Read More >>
  • Who Is Odd Nerdrum and Why Do We Care?
    Norwegian artist Odd Nerdrum, currently facing time in prison for tax fraud, is certainly a character, taking on more of a dramatic persona than most people do in their day-to-day lives. He's also a bit of a polarizing figure. I know artists who think
    Read More >>
  • Let’s Give Them Something to Talk About
    Lucrezia by Francisco Benitez, 30 x 30, encaustic on panel. I recently had a conversation with an artist about how she is struggling to get her drawings and oil paintings noticed by the "art world" and her frustration that she can't seem
    Read More >>
  • Thomas Eakins Taught Me All About Painting People
    Female Nude by Thomas Eakins, oil painting, c. 1881. The Thinker by Thomas Eakins, oil painting, 1900. Thomas Eakins earned himself quite a reputation during his lifetime. He didn't suffer fools gladly, he didn't hold his tongue, and he didn't
    Read More >>
  • Landscape Painting Lessons from the Masters: Inness
    These four oil paintings have something in common. Yes, of course, they were all painted by George Inness (1825-1894), one of the greatest American landscape painters of all time. But there's something else, an incredibly valuable lesson. Have you
    Read More >>
  • Painting to Preserve and Protect
    I'm a sucker for a good cause, and the Yellow Barn Studio and Gallery is putting on a great one this October: The Green Paint Out, a plein air landscape painting competition with the mission of preserving and protecting America's national parks
    Read More >>
  • A Few Favorite Resources from My Bookshelves
    Sarah Simblet (her pen drawing, Isis 38 , above) taught me a lot about how intertwined the semblance of motion and mark-making are in really good drawings. Maybe it is part of having an arts career or maybe it is just me, but I love books and magazines
    Read More >>
  • Plein Air Paintings Created By Torchlight & Preserved Forever
    Drawings of horses in the Chauvet caves. We recently watched the Werner Herzog film, Chauvet: Cave of Forgotten Dreams . Herzog made the film about the prehistoric, 30,000- to 32,000 year-old cave art discovered in 1994 in the Ardeche region of France
    Read More >>
  • American Artist Highlights: Guide to Painting Flowers, Fall 2011
    Learn classical techniques with an inspiring guide that shows you how to create stunning pieces with ease and confidence. Make your colors sing and enhance your process—top contemporary masters of today show you how. Challenge yourself with more complicated arrangements and develop the confidence
    Read More >>
  • Painting Bridges, Alleys, and Avenues of My Favorite Cities
    I was born and raised in the suburbs, with rural farmland and city centers nearby so I have an unbiased appreciation for both. I'm attuned to the natural elements around me and I love to be outdoors, but I also get so energized by the sights and sounds
    Read More >>
  • Landscape Painting Lessons from the Masters: Corot
    Recollection of Mortefontaine by Jean-Baptiste-Camille Corot, landscape oil painting, 1864. One of my great heroes in art is Jean-Baptiste-Camille Corot (1796-1875), the world-famous French artist who is still considered one of the best landscape artists
    Read More >>
  • Help! I’m Stuck in a Plein Air Rut!
    Schloss Kammer at Lake Atter I by Gustav Klimt, 1908, oil on canvas. It seems impossible, right? I mean I'm out there painting, everything looks so fresh and crisp, the air and wind feel so good on my face, and then all of a sudden I am practically
    Read More >>
  • Drawing Basics: Using the Egg to Draw Anatomy
    Marjorie Forgues' figure drawing, day 1. Marjorie Forgues' figure drawing, day 2. Taking a painting or drawing class is always a learning experience, but often I find I learn a great deal from other artists in the class as well. This is especially
    Read More >>
  • Painting Darks That Are Too Dark to See
    Nicole at Mille Fleurs 3 , acrylic painting on canvas, 48 x 30, 2010. In the Afternoon Light , acrylic painting on canvas, 48 x 30, 2011. Contrast is the difference between light and dark values. The human eye is able to see clearly across a contrast
    Read More >>
  • Treat Your Model Like a Well-Trained Pet
    I am kidding! So kidding! But I was thinking about this article and how I wanted to discuss working with a model, specifically how to position your model in a figure drawing , and what that position can convey both compositionally and as part of the narrative
    Read More >>
  • What It Means to Be an Artist
    Seeing John Phillip Osborne at his canvas reminds me of all the things I think of and value as an artist. I know I don't have to explain it to all of you , but when I am in situations with people who aren't as passionate about art I find myself
    Read More >>
  • 3 Painting Pointers That I'll Always Remember
    Notice how Gury scratches through the paint in his oil painting Autumn Glow , reinforcing the shape and outline of the tree limbs. I'm not one to ask or judge someone by their resume or history because we all walk our own paths and get meaningful
    Read More >>
  • All the Painting Ladies
    Judith and Her Maidservant by Artemisia Gentileschi, 1613, oil on canvas. I'm not one to put artist before artwork. If I like the painting or drawing, it has nothing to do with who the art-maker is. But that doesn't mean that I don't believe
    Read More >>
  • 3 Paintings I'd Take in a Heartbeat
    Unknown Woman by Thomas Wilmer Dewing, 1890, pastel painting on paper. I love the effects and colors you can get with pastel paintings . . . at least I do now. It wasn't too long ago that I felt like I had some kind of weird complex where I could
    Read More >>
  • Prelude to a Kiss…Gotta Paint Lips First!
    In this large scale painting by Stephen Bennett ( Beach Baby , 2001, acrylic, 80 x 64), the faint lines and varied color on the lips are faithfully rendered. As an unrepentant smart mouth, I know how much value two lips have, in real life and especially
    Read More >>
  • Abandon and Control: Robert Liberace's Contradiction in Oil Painting?
    Oil painting demonstration by Robert Liberace. To listen to Robert Liberace talk during one of his demonstrations, sometimes, fleetingly, it sounds to me like there is an occasional contradiction. The most recent example I can point to is when he talked
    Read More >>
  • Say Bon Voyage to This Kind of Painting
    Passing clouds from my window by Jos van Riswick . The artist has made a commitment to doing a postcard-size oil painting a day. Wherever I visit, I always send my parents postcards. It's a way of sharing my travel experience with them; giving them
    Read More >>
  • Ah, Vacation.....Time for More Painting!
    I put aside my oil painting work to take up a sketchbook and watercolors to capture the sights and sounds around me during my trip . If you are a painter, you know that sometimes the best thing to do is get away from it all...and do more painting. I was
    Read More >>
  • Who Sent You Flowers? Me!—Our Newest Free eBook on Painting Flowers Is Here!
    Rhododendron by James Sulkowski, 2001, oil painting. Notice how the flowers are arranged in a curving S-shape, starting in the back and bring your eye to the foreground. Most artists have a love-hate relationship with floral painting. There's plenty
    Read More >>
  • Painting the Illusion of Distance—Is It Just About Perspective?
    Fifty by Mitchell Albala, 2006, oil painting on canvas. In this painting, the artist strongly distinguishes the land and sky to give a sense of vertical distance. This summer I've been traveling a bit, but of course it's never as much as I would
    Read More >>
  • The First Plein Air Painters
    The cave paintings of Lascaux. Legend has it that Pablo Picasso remarked upon emerging from a visit to Lascaux cave that, "we have discovered nothing new in art in 17,000 years." The beautiful artwork from this ancient era is a reminder of our
    Read More >>
  • Move Over MacGyver. I’ve Got a Painting Studio Gadget for You!
    I was on a studio visit the other day to artist Daniel Baltzer 's place in Harlem and the first thing that grabbed my attention—even before looking at his paintings (!)—was this cool little contraption he had in the middle of his studio
    Read More >>
  • Finishing My Oil Painting, Leaves of Grass
    Notice the chalk lines drawn over the figure to assess and check the proportion and length of her limbs. I have finally finished my oil painting , Leaves of Grass , which I have blogged about previously. In all, the painting probably took nearly 2 months
    Read More >>
  • Landscape Lessons from the Masters: Monet
    Le Parc Monseau by Claude Monet, oil painting, 1877. Interestingly enough, technology played a major role in influencing the course of art history in the mid-1800s. Among several notable technological revolutions was the invention of the metal paint tube
    Read More >>
  • Painting Essentials: Color & Light from James Gurney
    Sunset over the Catskills by James Gurney, oil painting. If I want to excel in my craft and become any kind of decent realist painter, the two aspects of oil painting that I need to focus on are color and light. Perfecting the two, together, will allow
    Read More >>
  • I’d Make You a Mixed Tape, But This Is Better. Plus, Our Collection Sale Starts Today!
    My version of an art "mixed tape" is a bunch of really great info and inspiration for us as we head into the home stretch of summer. Here are several of my favorite recent Artist Daily blog entries and American Artist online articles that have
    Read More >>
  • Speed Painting Outdoors
    John had to deal with rapidly changing weather conditions as he worked on his plein air watercolor painting, Cub Lake Trailhead . We outdoor painters are always on the search for beautiful places to paint, and so we become inveterate travelers and explorers
    Read More >>
  • I Want to Sculpt My Drawings
    Minerva by Auguste Rodin simultaneously shows the centered grounding of the human body's core and the fluidity of its limbs. Painting is closer to three-dimensionality than drawing simply by way of the medium. You can build up sculpted areas and thick
    Read More >>
  • Drawing Basics: How I Judge My Artistic Progress & Learning from Robert Liberace
    This is a long pose drawing that made it into my "evaluate" pile. Part of the artistic learning process for me is learning how to evaluate my work, not on a piece by piece basis, but collectively. This summer I am looking at my drawing art works
    Read More >>
  • Mixing Harmonious Greens in My Plein Air Painting
    All you landscape artists who live in the dry, deserty parts of the world, or you plein air painters in the wet, watery parts of the world, bear with me, but those of us who live in the lushly vegetated parts of the world face a big challenge: green!
    Read More >>
  • What’s the Impressionist Way of Painting with Color?
    In Dancers at the Bar by Edgar Degas, 1888, the artist used complementary colors to make a sharp contrast between the figures and the space. We all know that Impressionism heralded a new way of painting. Material and technical advancements--metal tubes
    Read More >>
  • Oil Painting Lessons From John Singer Sargent
    La Carmencita by John Singer Sargent, oil painting, 1890. I try and shy away from describing art in bombastic terms. It can become a slippery slope of flowery language with no real takeaways. But when I'm studying the works of no less than John Singer
    Read More >>
  • We Don't Have to Settle for Paint & Brush
    Okay, I don't really mean that. I was just trying to get your attention. But I kind of do mean it because so often when dealing with how to paint a composition, I follow the same process day in and day out, which is why the idea of transferring images
    Read More >>
  • Plein Air Painting, Spring 2011
    The industry’s favorite plein air magazine is back with more of what you love! Last year, Plein Air Painting magazine flew off the shelves! Capture info from on-site studies, direct observations, and outdoor painting instruction from top plein air painters of today. Perfect your plein air painting
    Read More >>
  • Show Some Skin...Er, I Mean, Paint It! For a Good Portrait Painting, It's a Must!
    Stacee by Scott Burdick, three-hour oil portrait painting study, 12 x 16, 2001. I remember when Mr. Nemerow, my very enthusiastic freshman biology teacher, launched into what, looking back, I'd best describe as a full-body fit about how the epidermis
    Read More >>
  • Drawing Basics: Making Art According to Leonardo da Vinci's Motto
    Left: Kem , detail, 2004, 48 x 24, oil on canvas. Right: Hands #1 , 2011, 24 x 24, oil on canvas. I am not claiming either painting is better, but without my figure drawing practice between 2004 and 2011 I couldn't have painted the newer painting
    Read More >>
  • Painting Outdoors: Fast and Easy Block-Ins
    I used to waste oodles of time blocking in my plein air paintings until I finally learned some great tips for doing them fast, such as skipping the drawing, establishing the value range first, and addressing each set of values in a logical order. Here's
    Read More >>
  • 4 Crucial Figure Painting Tips
    On Hamilton's Prairie by Rose Frantzen, 32 x 40, oil painting. Rose Frantzen's work has been on my radar for a while and even more so after I saw her oil painting portrait show at the Smithsonian Portrait Gallery in Washington, DC, which featured
    Read More >>
  • Just Back Up and Let the Painting Breathe
    Early Morning by Keith McCulloch, 12 x 16, oil painting. Artist Daily Member Spotlight: Keith B. McCulloch When I first saw Keith McCulloch's paintings, I took a deep breath. It was an involuntary reaction but a telling one—the airy, openness
    Read More >>
  • 5 Tips That Fine-Tune My Outdoor Paintings
    Fallen Tree, Mississippi by Jeffrey Smith, 11 x 14, oil painting. My studio is filled with stuff to look at: still life objects, postcards of paintings that I love, and written notes of things to think about and remember as I'm working on a painting
    Read More >>
  • Don’t Just Paint. Pour!
    Portifino by Jean Grastorf (watercolor painting, 20 x 30, 2003) was created using the artist's signature pour technique. I'm always surprised that the so-called ‘Painter of Light' isn't a watercolorist. Luminous light effects are
    Read More >>
  • Art for Thought: Banding Together to Break the Mold
    Revue by Everett Shinn, 1908, oil painting, 18 x 24. Everett Shinn was one of the Ashcan School artists or "The Eight," which was led by Robert Henri and included Arthur B. Davies , William Glackens , Edward Hopper, Ernest Lawson , George Luks
    Read More >>
  • Plein Air Essentials: The Anatomy of Water
    Ocean II by John Hulsey, 30 x 40, oil painting. The painting Ocean II was created from a smaller plein air study created at sunrise on Isle of Palms, South Carolina. I liked the composition and colors, and especially the way the wet sand mirrored the
    Read More >>
  • It’s What I’m Here For: Free eBook of Watercolor Lessons & Painting Techniques from Artist Daily
    Overlay by Ali Cavanaugh, 12 x 12, watercolor painting. As a wannabe artist, I have a lot of years ahead of me to invest in perfecting my painting. Knowing this, I often think about the medium I will choose to work with—what will grow with me through
    Read More >>
  • Hybrid Method of Painting and Drawing
    Magnificent Malibu by Gerald Rahm, 2005, pastel painting, 16 x 20. When I'm hiking or walking on the beach, my attention span is really short. I flit from activity to activity, sight to sight, just trying to take it all in. That's why pastel painting
    Read More >>
  • Planning Values In A Hurry When Painting Outdoors
    A gray-scale photograph of my plein air oil painting subject. If you read my last post , you know I'm a believer in spending time planning a composition before diving into a plein-air painting . Yet, I also want to get started as soon as possible
    Read More >>
  • Oil Painting Odyssey: Making Pandora
    Pandora by Patricia Watwood, oil on canvas. I've had it in my head to make a "Pandora" oil painting for a while now. In the myth, Pandora is overcome with curiosity (well, who wouldn't be??) and she opens the proverbial box and releases
    Read More >>
  • The Art of the Dog
    Watercolor study by John Hulsey, 7 1/2 x 7. Being strong dog proponents (especially for dogs in the studio, where they never provide negative commentary), and being the caretakers (or is it the other way around?) of two ancient (in dog years) Great Pyrenees
    Read More >>
  • Create a Painting On My First Try? Yes, Please!
    Artist Al Gury is known for his direct or alla prima painting knowledge. The oil painting, above, shows his decisive ability to create complex colors and shapes through successive layers. I love saying the phrase 'alla prima' but it's way
    Read More >>
  • Art Isn’t Just About Pretty People
    New Year by Mary Whyte, watercolor painting of a milliner from Atlanta, GA; 2009, 22 1/2 x 29. Sometimes I get so sick of people calling a painting or drawing 'art' because it has a good-looking person in it. Who wants to hang out with Barbie
    Read More >>
  • Patterns, Stencils, and Exotic Textiles
    Believe it or not, this piece of cloth was sky painted by artist Terry Maddox using light-sensitive paints. Yowza--it's beautiful. Who says I have to start painting or drawing on a blank page? Some of my favorite drawings are doodles that are on torn
    Read More >>
  • Let Nature Walk Right In Front of You
    Sunrise River II by John Hulsey, oil on canvas. "You can observe a lot by just watching." - Yogi Berra I was reminded of this quote as I was sitting on the boardwalk in Constitution Marsh on the Hudson River near where we used to live. I hadn't
    Read More >>
  • There's No Better Way to Begin Painting
    This is an underdrawing for Michael's large oil painting, Air (72 x 104). I really feel like I've grown so much during my time at Artist Daily, and in large part that is because of my exposure to the staff of and featured artists in American Artist
    Read More >>
  • Painting Portraits with Personality, Mood, and Character
    Portrait of Ginevra di Benci by Leonardo da Vinci, 1474-1476, oil painting on wood, 16.5 x 14.5. I've described the most important technical parts of my study of Da Vinci: line and anatomy . When I began to study how to paint, I opted not to follow
    Read More >>
  • Lightening My Plein Air Pack
    Scott Burdick often does plein air studies, like this one ( Vermilion Cliffs , 2009, plein air oil painting, 9 x 12), on lightweight panels that are easy to travel with. I was watching a documentary about the Appalachian Trail the other day and was amazed
    Read More >>
  • Come Paint in My Backyard...Practically
    A view of the lands around Sagamore Hill estate, where the Teaching Studios plein air competition will take place. This is such a neat opportunity that I just had to share with you, and it is so close to me, geographically speaking, that it would be like
    Read More >>
  • What's the Association Factor and Why Is It a Painting 'Must'?
    I don't want to learn how to paint from just anyone. I don't mean that snobbishly, but I know how I work and learn. I am a visual learner and I learn by doing. Hearing someone drone on and on makes me want to get up and run around the room, so
    Read More >>
  • I'll Know I'm an Artist When...
    Self-portrait in Red by Melvin Toledo, oil on canvas, 20 x 20. Artist Daily Member Spotlight: Melvin Toledo When I can see the "art" in the everyday, that's when I know I'll be working and thinking at my fullest potential. I'm still
    Read More >>
  • Composing On the Fly When Painting Outdoors
    A photo of the plein air landscape site I chose to paint. I can still recall the first morning I saw this little bend in the river ike it was yesterday. The air was still cool and breezy, the sun was glinting off the water, the bees in their hive were
    Read More >>
  • Plein Air Painting with Clyde Aspevig
    Flower Garden by Clyde Aspevig, oil on canvas, 24 x 12. Content adapted from an article by Allison Malafronte. Clyde Aspevig is a landscape painter and seasoned plein air artist who prides himself on going out into his chosen environs with a feeling of
    Read More >>
  • The Best Art for a Control Freak Like Me
    One of my favorite still-life artists is G. Daniel Massad. He plays with space in an incredible way. His pastel paintings are stark, eerie, and lovely all at once. Above, Three Plums and Rosehip , 2005, pastel, 11 x 10 7/8. What I love best about still
    Read More >>
  • Plein Air Artist Asher B. Durand Wrote Me a Letter...Sorta...Not Really
    Rocky Cliff by Asher B. Durand, oil on canvas, 1860. Based on an article by Allison Malafronte. As you all well know, I spend a lot of time writing. But I also spend a lot of time reading, and lately I have absolutely fallen in love with reading letters
    Read More >>
  • Pop Quiz: How Good Is Your Painting Memory?
    Squall Line by John Hulsey (30 x 40, oil painting). John Hulsey and Ann Trusty created their website, The Artist’s Road , to inspire their readers and students with practical art tips and plein air painting techniques for the traveling artist. John
    Read More >>
  • Building a Bridge to China with Oil Painting and Contemporary Realism
    The ACOPAL show featured contemporary American Realist painting. Whenever I step inside the beautiful and historic National Arts Club, on Gramercy Park in Manhattan, I'm reminded of how long it has been a supportive home for American Realism. In May
    Read More >>
  • I Need a GPS for Drawing Faces
    Drawing a face is a little like reading a map. And no, not the cool Indiana Jones map where the red line draws itself to the destination and ‘X’ marks the spot. I wish! It is more that when learning how to draw people , there are a few “signposts” on the face and rules of thumb
    Read More >>
  • Plein Air Painting on a Freshly Primed Surface
    Wait until you are in front of your outdoor painting scene before deciding what to tone your surface. I've found that how you prepare your canvas has a huge impact on the finished result of your plein-air painting . Do you start your painting right
    Read More >>
  • He Told Me I Could Share His Secrets
    Looking at paintings can be like unraveling a mystery, especially with watercolor. Layers are so delicate and there are many interesting watercolor painting techniques that are quite subtle to the eye. That's certainly what I felt when I looked at the work of watercolor artist Miguel Dominguez. I
    Read More >>
  • Summer 2011
    As any artist can attest, versatility is the key to a long and illustrious career. The ability to work with a variety of media, subject matter, and techniques helps keep skills up-to-date, the mind engaged, and one's creativity consistently challenged. With that in mind, we've decided to use
    Read More >>
  • Painting This Uniquely American Place
    America is a land of rich diversity that extends throughout our landscapes, cities, and regions. I'd say that one of the most distinctive places we have is Cape Cod. Now, being a born-and-raised Southern girl, I have always romanticized the northern coasts and beaches because they always look so
    Read More >>
  • 3 Ways to Assure You Are Always Growing as an Artist
    Ellen Cooper’s In Defiance of Erebus won the People’s Choice and First Place Award. After participating in a panel discussion about career goals for artists at this year’s Portrait Society of America Conference I wanted to share a few more tips that I use to keep my art growing and
    Read More >>
  • Plein Air Time Machine
    Plein air watercolor sketches of sites in Kansas and Charleston, South Carolina. All works by John Hulsey. It took me awhile to realize it, but I have invented a time machine. I didn’t set out to invent a time machine exactly, but like many other
    Read More >>
  • Bring My Painting Back From the Brink of Disaster
    Meeting artist and Studio Incamminati instructor Lea Colie Wight was a little bit like meeting a favorite celebrity and miracle worker all rolled into one. Lea's execution and subject matter resonates with me, but it is her perseverance and desire to share common experiences in painting that really
    Read More >>
  • Draw with Your Brush
    When Scott Royston sets his sights on flowers for one of his still life oil painting compositions, he isn’t drawn to tiny buds or small bouquets but expressive flora in full bloom. For him, painting flowers is a gradual process that starts with a rough sketch in his sketchbook and toning his canvas
    Read More >>
  • More Painting Methods I’d Steal From Julie Heffernan
    Self-Portrait Sitting on the World by Julie Heffernan, 2008, 78 x 56, oil on canvas. I started with another post about Julie Heffernan’s out-of-the-box conceptual acuity and dynamic oil painting methods , but I just couldn’t stop there. Here
    Read More >>
  • I Want to Steal Her Ideas
    Circles and ellipses influenced the compositional arrangement in Heffernan's Self-Portrait as Big World , oil on canvas, 2008, 65 x 68. If I could jump into any painting and live in that world for a time, I’d throw myself at a Julie Heffernan
    Read More >>
  • Building a Career for the Long Term
    For the Portrait Society of America Conference in Atlanta this year, I was invited to participate in a panel on Professionalism, Leadership, and Service. I was asked to speak to “Building a Career for the Long Term.” Now, anyone who saw my tax returns for 2010 would NOT have put me on a short
    Read More >>
  • How to Paint Clouds in Watercolor
    In a recent post on how to paint clouds at sunset , we diagrammed a pastel painting and explained a bit about the types of clouds one may encounter when painting outdoors . This time, we have dissected a watercolor, Ghost Ranch IV , that I painted in New Mexico near Georgia O’Keefe’s house
    Read More >>
  • Fur, Feathers, Scales, and Tails
    Patricia Traub presents animals—above, The Collector , 10 1/2 x 14 3/4, 2008—in her work in a naturalistic way that emphasizes their unique physical attributes and bearing. I don’t have pets but I really love drawing animals because
    Read More >>
  • Highlights: Painting Instruction From Master Teachers
    Get instant improvement on your portraits, landscapes, and still life’s from master teachers.
    Read More >>
  • Finding the Warms and Cools of White
    Painting flowers is sometimes a study in the subtlety of color, as in Ann's flower oil painting, Philadelphus III (oil, 12 x 16). Painting large flower portraits has given me the opportunity to explore what seem to be the nearly infinite shades and
    Read More >>
  • What’s Up With the Floating People?
    That’s one of the first questions I put to artist Caitlin Hurd about her oil paintings, which feature dazed, inert figures floating through the landscape. But they aren’t floating as much as sleepwalking, according to Hurd. “It all started with how I wanted to live my life,” she
    Read More >>
  • It’s Like Coupon Clipping...But Not
    When I was a kid, my mom always cut coupons on Sunday morning. I’d sit beside her and do the same, but I’d flip through magazines and newspapers and cut out pictures I liked or lettering that I thought was neat, and I never gave up my artsy coupon clipping habit because it’s a great
    Read More >>
  • Must-Have Videos: Photoshop Lessons for Artists and the Basics of Color
    Art is a matter of infinite variation and the knowledge of a few tried-and-true essentials. As instructors, Scott Burdick and Susan Lyon bridge these two by focusing on sound technical practice in the larger context of what contemporary artist face working today--and the tools that are at our disposal
    Read More >>
  • Reaching New Levels of Creativity En Plein Air
    Do you ever feel like you’re just painting the same old same old when you go outside to paint? Couple of trees, maybe some water—it’s actually fairly easy to fall into the rut of painting the same subjects again and again. At least, that’s how I get to feeling on occasion.
    Read More >>
  • Weekend With the Masters 2011: Exciting New Educational Opportunities & Breathtaking Location
    Golden by Daniel Gerhartz, oil on canvas, 16 x 12. Since its inception in 2009, Weekend With the Masters Workshop & Conference has brought together some of the top instructors of representational art under one roof for a long weekend of workshops
    Read More >>
  • There's Nothing Quite Like Custom Made
    I’ve always dreamed of having something, anything—shoes, a coat, a car!—custom made. While all of those are pretty much still out of my reach, I know that I can custom design how I get my art training. There are a lot of options out there for us art-minded folk, but I spoke to Rob Zeller
    Read More >>
  • The Artist’s Road—A Journey Not a Destination
    When John Hulsey and Ann Trusty told me the name of their website— The Artist’s Road —I smiled to myself because they got it so right! Art—painting, drawing, sculpting, all of it—is a path, a journey. Sometimes the path is smooth and things go right, and sometimes it is
    Read More >>
  • Drawing Basics: To Tone or Not to Tone
    I have found that toning my support, whether canvas or paper or board, is something I often do now. I’m showing two works to illustrate the difference between toning and not toning.
    Read More >>
  • Step by Step: Sketch to Finished Painting + Plein Air Download for a Dime
    When Richard McKinley creates a landscape painting , he likens it to a dance, a push-pull between the artist’s feelings for the place and the tendencies of the medium. For his landscape art, he focuses on a subtle progression of color layers and
    Read More >>
  • Using Your Sketchbook to Good Advantage
    Hi all! This is my first blog at Artist Daily, and I wanted to jump right in and discuss one of the best things I think a plein air painter can do—use a sketchbook to plan your composition and clarify your vision of the finished painting you have in mind.
    Read More >>
  • Varnish, Varnish Everywhere
    I interviewed Sadie Valeri on her unusual wax paper paintings months and months ago, but since then I've been keeping an eye on her. She's got great spirit, enviable talent, and she's just super nice! Little did I know that her sweet exterior
    Read More >>
  • What Could Be Better Than a Free eBook on Landscape Painting?
    My answer to that is nada! Zippo! Zilch! As the weather heats up from coast to coast, now is the time when artists turn their attention to the excitement of landscape painting. But I'll be honest with you. I'm still intimidated by the whole landscape painting process. There seems to be so much
    Read More >>
  • Artist Daily Member Spotlight: Asghar Gonchehpour
    One of the things I love best as the editor for Artist Daily is getting to know the artists in our community. A few weeks ago, I saw a mixed media portrait in the Member Gallery that caught my attention. The painting--a girl with wild, colorful hair and a tranquil expression on her face--looked like
    Read More >>
  • The Gowanus Ballroom
    The Gowanus Ballroom brought together installation art, contemporary sculpture, and realist painting. Every once in a while, I get to do something that is comes uniquely from the place where I’ve chosen to live—Brooklyn. My studio is in Gowanus
    Read More >>
  • Bring On the Botox...Or Not
    Artist Daniel Gerhartz's new book, Not Far From Home , is a visual compendium of his life's work as a painter. In it, you not only find inspiring, lush photographs of Gerhart'z paintings, but insightful and instructional information as well. To showcase all of the great content in the book
    Read More >>
  • Painting to Establish Intimacy
    Artists create for a lot of reasons--ego, instinct, livelihood--but author and painter Margaret Krug creates for a very unique reason: to enfold us in the intimacy and delicacy of her personal artistic vision. Often working on a small scale, sometimes on a surface no larger than a postcard, Krug paints
    Read More >>
  • May I Introduce Odd Nerdrum?
    Summit by Odd Nerdrum, oil painting, 2000, 93 x 88. Odd Nerdrum: Weekend With the Masters Instructor Odd Nerdrum was born in Hälsingborg, Sweden, in 1944. He was a student at The Academy of Art in Oslo at the time when Modernism made its delayed
    Read More >>
  • May I Introduce Rose Frantzen?
    Up the Block by Rose Frantzen, oil painting, 40 x 50. Rose Frantzen: Weekend With the Masters Instructor Rose Frantzen 's peers hold her in especially high regard as an artist's artist. In her 25 years as a full-time painter, she has also gained
    Read More >>
  • May I Introduce Lea Colie Wight?
    Lea Colie Wight: Weekend With the Masters Instructor "From time to time you notice something unexpectedly beautiful in the most ordinary person; the overlooked corner will tell the story of the people not present; something will tug at you and you
    Read More >>
  • May I Introduce Stephen Early?
    Glass Study 3 by Stephen Early, oil painting on masonite, 7 x 5. Stephen Early: Weekend With the Masters Instructor Artist Stephen Early began his art education at the Pennsylvania Academy of Fine Arts in Philadelphia. He has received many notable portrait
    Read More >>
  • May I Introduce Scott Waddell?
    The Den by Scott Waddell, oil painting, 20 x 16. Scott Waddell: Weekend With the Masters Instructor Scott Waddell was born and raised in Central Florida. He received his B.F.A. from Florida State University. After college, Waddell spent the next several
    Read More >>
  • May I Introduce Steven Assael?
    Venus Pregnant by Steven Assael, oil painting, 72 x 48, 2002. Steven Assael: Weekend With the Masters Instructor Artist Steven Assael was born in New York City in 1957. He attended Pratt Institute and presently teaches at The School of Visual Arts, in
    Read More >>
  • May I Introduce Edward Minoff?
    Breton Wash Basin by Edward Minoff, oil painting. Edward Minoff: Weekend With the Masters Instructor Edward Minoff graduated with honors from New York University's Tisch School of the Arts. Throughout his high-school and college years he studied painting
    Read More >>
  • May I Introduce Nelson Shanks?
    Portrait of His Holiness, John Paul II by Nelson Shanks, 2001, oil painting on canvas, 54 x 50. Nelson Shanks: Weekend With the Masters Instructor One of the most sought after teachers and portrait painters in the world and founder of the post-graduate
    Read More >>
  • May I Introduce Dan Thompson?
    Persian Archer by Dan Thompson, 18 x 28, oil painting, 2004. Dan Thompson: Weekend With the Masters Instructor Dan Thompson was born in Alexandria, Virginia, and graduated from the Corcoran School of Art, in Washington, DC. He earned his M.F.A. from the
    Read More >>
  • May I Introduce Daniel Sprick?
    Untitled by Daniel Sprick, 2006, 24 x 24, oil painting. Daniel Sprick: Weekend With the Masters Instructor Daniel Sprick was born in Little Rock, Arkansas. He studied at the Froman School of Art and The National Academy of Design and received his B.F
    Read More >>
  • May I Introduce Ray Roberts?
    Seascape by Ray Roberts, oil painting. Ray Roberts: Weekend With the Masters Instructor Ray Roberts is best known for his seascapes, figurative work, and majestic views of California and the Southwest, and is one of California's most respected plein
    Read More >>
  • May I Introduce Ron Hicks?
    The Love on the Road by Ron Hicks, oil painting. Ron Hicks: Weekend With the Masters Instructor Ron Hicks grew up in Columbus, Ohio, and was introduced to art at an early age under the influence of his artist mother. Continuing to pursue drawing through
    Read More >>
  • May I Introduce Dan McCaw?
    Seated Figure by Dan McCaw, 24 x 18, oil painting. Dan McCaw: Weekend With the Masters Instructor Dan McCaw was born in 1942 and raised in Montana and during his academic art career attended the Montana Institute of Technology, in Butte Montana; Academy
    Read More >>
  • May I Introduce David Leffel?
    Youth by David A. Leffel, oil painting, 15 x 13 1/2. David Leffel: Weekend With the Masters Instructor David A. Leffel is widely recognized as one of the most accomplished representational artists today and is often referred to as a living Old Master
    Read More >>
  • May I Introduce Albert Handell?
    Pastel painter and oil painter Albert Handell. Albert Handell: Weekend With the Masters Instructor Pastelist and oil painter Albert Handell was born in Brooklyn, New York, in 1937. At an early age, a favorite activity of his was drawing with chalks on
    Read More >>
  • May I Introduce Jacqueline Kamin?
    Red Carnations with Ming Rice Bowl by Jacqueline Kamin, oil painting, 20 x 16. Jacqueline Kamin: Weekend With the Masters Instructor Born in 1950 in Washington, DC, Jacqueline Kamin received her formal art education from the Corcoran Museum School in
    Read More >>
  • May I Introduce Jeremy Lipking?
    Skylar in Blue by Jeremy Lipking, oil painting, 16 x 12, 2010. Jeremy Lipking: Weekend With the Masters Instructor In a remarkably short period of time, Jeremy Lipking has emerged as one of the country's premier oil painters. His talent, which rivals
    Read More >>
  • May I Introduce George Gallo?
    Connecticut Yankee Spring by George Gallo, 20 x 24, oil painting. George Gallo: Weekend With the Masters Instructor Award-winning writer, director, and painter George Gallo is capturing the hearts of both the general public and artist-audiences everywhere
    Read More >>
  • May I Introduce Nancy Guzik?
    Spring Dance by Nancy Guzik, 12 x 20, oil painting. Nancy Guzik: Weekend With the Masters Instructor Throughout her career in art, Nancy Guzik has been quietly perfecting not only her skills but also the focus of her work. The result on the surface of
    Read More >>
  • May I Introduce Daniel Pinkham?
    Sublime Order by Daniel Pinkham, oil painting. Daniel Pinkham: Weekend With the Masters Instructor Born in Los Angeles, Daniel Pinkham has been a principal force in the resurgence of plein air painting in California and throughout the country. Pinkham
    Read More >>
  • May I Introduce David Jon Kassan?
    Approaching Noise (in progress) by David Jon Kassan, oil painting on wood panel, 40 x 34. David Jon Kassan: Weekend With the Masters Instructor Following his initial drawing studies at University of the Arts, in Philadelphia, David Jon Kassan attended
    Read More >>
  • May I Introduce Mary Whyte?
    Graffiti by Mary Whyte, watercolor painting. Mary Whyte: Weekend With the Masters Instructor Born in Ohio in 1953, Mary Whyte grew up with all the rural Midwest has to offer. She graduated from Tyler School of Art, in Philadelphia, in 1976 with a Bachelor
    Read More >>
  • May I Introduce Anthony Ryder?
    Twilight by Tony Ryder, 1998, pencil drawing, 25 x 19. Tony Ryder: Weekend With the Masters Instructor Anthony Ryder studied at the Art Students League of New York, the New York Academy of Art, and the Ecole Albert Defois, in France, with oil painter
    Read More >>
  • May I Introduce Robin Frey?
    Untitled by Robin Frey, oil painting, 14 x 14, 2008. Robin Frey: Weekend With the Masters Instructor Artist Robin Frey grew up in Sarasota, Florida, taking art classes as a child at the Ringling School of Art. She received her B.F.A. from Eastern Mennonite
    Read More >>
  • May I Introduce Susan Lyon?
    Maya with Guitar by Susan Lyon, oil painting, 12 x 9. Susan Lyon: Weekend With the Masters Instructor Susan Lyon studied painting at the American Academy of Art and the Palette & Chisel Academy of Fine Arts, both in Chicago. It is there she first
    Read More >>
  • May I Introduce C.W. Mundy?
    Morro Bay Rock, Near Cambria by C.W. Mundy, oil painting on linen, 16 x 20. C.W. Mundy: Weekend With the Masters Instructor C.W. Mundy, an American impressionist, was born in 1945 and raised in Indianapolis, Indiana. He graduated with a B.F.A. from Ball
    Read More >>
  • May I Introduce Skip Whitcomb?
    Dawn, High Tide-Navesink River by Skip Whitcomb, oil painting on linen, 10 x 20. Skip Whitcomb: Weekend With the Masters Instructor Born in 1946, M.W. Skip Whitcomb has been interested in art since his childhood on a ranch near Sterling, Colorado. However
    Read More >>
  • May I Introduce Jean-Pierre Roy?
    A Wind to Ward Off Dreams by Jean-Pierre Roy, 58 x 68, oil painting, 2010. Jean-Pierre Roy: Weekend With the Masters Instructor Jean-Pierre Roy is an artist and teacher currently living and working in New York City. Born in Santa Monica in 1974, Roy pursued
    Read More >>
  • May I Introduce Peter Adams?
    Crashing Waves at Three Arch Bay; Laguna Beach by Peter Adams , pastel painting, 12 x 16. Peter Adams: Weekend With the Masters Instructor Peter Adams was born in Los Angeles, California, on August 27, 1950 and he received his training in California at
    Read More >>
  • May I Introduce Kevin Macpherson?
    Santa Catalina Island by Kevin Macpherson, oil painting, 30 x 50. Kevin Macpherson: Weekend With the Masters Instructor Kevin Macpherson is one of the country's leading plein air painters and is highly respected among collectors and fellow artists
    Read More >>
  • May I Introduce Stephen Quiller?
    February Shadows, Rio Grande by Stephen Quiller, acrylic painting, 17 x 19 1/2. Stephen Quiller: Weekend With the Masters Instructor Stephen Quiller is an internationally known painter who works primarily in water media, monotypes, and intaglio printmaking
    Read More >>
  • May I Introduce Richard Schmid?
    Throughout his career, Richard Schmid has promoted art education through his books, articles, workshops, seminars, and television presentations. Richard Schmid: Weekend With the Masters Instructor Richard Schmid was born in Chicago, Illinois in 1934.
    Read More >>
  • May I Introduce Morgan Weistling?
    Stringbeans by Morgan Weistling, oil painting, 30 x 26. Morgan Weistling: Weekend With the Masters Instructor Well known for his paintings of early American pioneer life, Morgan Weistling began his art career as a movie-poster illustrator. While still
    Read More >>
  • May I Introduce Alyssa Monks?
    Window II by Alyssa Monks, oil painting, 2011, 48 x 36. Alyssa Monks: Weekend With the Masters Instructor Born 1977 in Ridgewood, New Jersey, Alyssa Monks began oil painting when she was just a child. Later, when she embarked on her academic career, she
    Read More >>
  • May I Introduce Marcia Burtt?
    Winter Sun, Full Moon by Marcia Burtt , acrylic painting. Marcia Burtt: Weekend With the Masters Instructor Marcia Burtt graduated from University of California Berkeley with a major in psychology and earned an M.A. in art from the University of Montana
    Read More >>
  • May I Introduce Frank Serrano?
    Sunlit Birch by Frank Serrano, oil on canvas, 12 x 12. Frank Serrano: Weekend With the Masters Instructor Contemporary landscape artist and plein air painter Frank M. Serrano was born in Los Angeles on November 29, 1967. He developed an early interest
    Read More >>
  • May I Introduce Jacob Collins?
    Thinking Man by Jacob Collins, oil painting, 30 x 20, 2004. Jacob Collins: Weekend With the Masters Instructor Jacob Collins is a leading figure in the contemporary revival of classical painting. He earned a B.A. in history from Columbia College and attended
    Read More >>
  • May I Introduce Scott Burdick?
    Market Colors by Scott Burdick, oil on canvas. Scott Burdick: Weekend With the Masters Instructor Scott Burdick was born in Chicago, Illinois, in 1967, where his mother and father encouraged his interest in art from an early age. "I spent a lot of
    Read More >>
  • May I Introduce Joseph McGurl?
    Light at Sunset by Joseph McGurl, oil painting, 24 x 36. Joseph McGurl: Weekend With the Masters Instructor Joseph McGurl has been referred to as one of the acknowledged leaders in the current American landscape painting arena. This has been confirmed
    Read More >>
  • May I Introduce Clayton Beck?
    Vermont Farmhouse by Clayton Beck, oil painting. Clayton Beck: Weekend With the Masters Instructor Clayton J. Beck III studied at the American Academy of Art and the Palette & Chisel Academy of Fine Arts, in Chicago, and launched his career as a professional
    Read More >>
  • May I Introduce Stephen Scott Young?
    Handline Hook by Stephen Scott Young, watercolor painting, 2010, 10 1/2 x 19 1/2. Stephen Scott Young: Weekend With the Masters Instructor Stephen Scott Young grew up in St. Augustine, Florida, and studied at the Ringling College of Art and Design, in
    Read More >>
  • May I Introduce Daniel Graves?
    Self-Portrait by Daniel Graves, oil on canvas, 2007. Daniel Graves: Weekend With the Masters Instructor Daniel Graves , born in Rochester, New York in 1949, is an oil painter, etcher, and founder and director of The Florence Academy of Art, Florence,
    Read More >>
  • May I Introduce Carolyn Anderson?
    Dave by Carolyn Anderson, oil painting, 16 x 12. Carolyn Anderson: Weekend With the Masters Instructor Carolyn Anderson , a nationally recognized artist, is an accomplished pastelist and oil painter. Born and raised in the Chicago area, Anderson attended
    Read More >>
  • May I Introduce Camille Przewodek?
    Vineyard Melody by Camille Przewodek, 16 x 20, oil on canvas. Camille Przewodek: Weekend With the Masters Instructor Camille Przewodek is a plein air colorist based in Petaluma, California, who received her B.F.A. in illustration from the Academy of Art
    Read More >>
  • May I Introduce Daniel Gerhartz?
    Nouveau by Daniel Gerhartz , oil painting. Daniel Gerhartz: Weekend With the Masters Instructor Daniel F. Gerhartz was born in Wisconsin in 1965, where he now lives with his wife Jennifer and their four children. His interest in art piqued at an early
    Read More >>
  • May I Introduce Joseph Paquet?
    Morning Light Crystal Cove , by Joe Paquet, oil painting on linen. Joseph Paquet: Weekend With the Masters Instructor Joseph Paquet received his Bachelors of Fine Art at the School of Visual Arts, in New York City, and had the good fortune of being mentored
    Read More >>
  • Nothing Watered Down About Her Work
    Over and over again I hear artists cooing about the thick richness of oil paints and its appealing spreadability, and yes, all of that is totally true. But artist Bev Jozwiak is giving oil a run for its money in terms of buttery appearance and saturated colors, and she’s doing it with watercolor
    Read More >>
  • More Tips for Painting Water En Plein Air
    John and Ann’s recent post about painting water en plein air was so inspiring and right on target. I love painting water elements, too, because they always make plein air landscape paintings more interesting. John and Ann’s tips were great, and I have two more to add:
    Read More >>
  • What I Get From Other Artists
    Wilson uses the visual world as a lexicon of poetic images, as in his painting, Mary . In the 19th century, painters depicted modern life, embracing the “real” and eschewing narrative subjects and symbolism. Now, modern figure painters are
    Read More >>
  • 5 Forget-Me-Not Tips for Painting 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 eye that we all first learned as children is far removed from how to give the illusion of a real eye in your work. Here are a few tips about painting
    Read More >>
  • Painting Clouds, Part I: Sunset Clouds
    Living as we do in the center of the country where the dominant feature of the landscape is the sky, we have always enjoyed painting the rich variety of clouds here. Besides being beautiful to look at, clouds can tell us all sorts of things about the weather, both present and future, that can prove very
    Read More >>
  • It’s a Bird. It’s a Plane. It’s an Artist?!
    Artists aren’t superheroes. No capes, no spandex onesies, and no butlers named Alfred. Artists don’t necessarily lead extraordinary lives in which they paint or draw between bouts of saving the world. Artists are like you and me. They are you and me, actually. We all go about our day-to-day
    Read More >>
  • The Romance Is Overrated
    I used to think so romantically about Monet, Pissarro, and the other Impressionists. Not romantic like Manet is so dreamy; romantic as in idealizing this particular group of painters—thinking they stepped outside of their studios and, snap, Impressionism just happened. Veneration can sometimes
    Read More >>
  • The Ultimate Backpack--Professional Tips for Packing Light
    Here's John using his heavy-weight watercolor gear while painting in Colorado. Through trial and error, over the years, we have figured out how to pack for our foot-powered plein-air painting adventures. We like to keep our heavy-duty Eagle Creek
    Read More >>
  • Do You Speak The Two Languages of Art?
    No, not Spanish or Italian or French. An artist needs to be fluent in the languages of realism and abstraction. By realism I mean the formal aspects of art--the painting techniques and drawing skills we develop over time through experience. Abstraction is the other side of the coin, the visual language
    Read More >>
  • Finding Meaning in the Details of My Painting
    Sometimes in making a small study for a larger oil painting, an artist will sketch in certain areas very loosely. It's almost as if she says to herself, "and there's some other stuff that fills in this area of the composition, but I'll think about that later." With the set of small
    Read More >>
  • A Painting Technique That’s Outside the Box…Er, Brush
    Breaking out of a painting rut sometimes requires a little more oomph than just adding another color to your palette or going from a still life to a figure painting. Sometimes your whole process needs an overhaul. A few years ago, artist Francis Di Fronzo took a fairly drastic measure to take his work
    Read More >>
  • How to Paint the Look and Feel of Spring
    I’m a color junkie. In fashion, in design, and especially in painting, vibrant color is what gets me creative. But before the image of Mimi from The Drew Carey Show becomes forever attached to my name in your mind, I’ll point out that I can control myself…sometimes. It’s tough
    Read More >>
  • How To Transfer a Study to a Large Canvas
    Study for Leaves of Grass . All works by Patricia Watwood. With the image of a female figure reading in the summer grass in mind, I began to develop my oil painting , Leaves of Grass . I started with a preparatory drawing. I work with models and from
    Read More >>
  • And the Award Goes to...
    I've been waiting all my life to have a red-carpet moment, but who knows when the Academy will get around to remembering my searing director's debut at the age of 14, when I put on a musical version of Hamlet to the theme song of The Beatles' "Obladi Oblada." (Maybe you had to be
    Read More >>
  • Workshop, Fall 2010
    Measure First, Draw Second; The Pathway to Great Compositions; Make Every ?Brushstroke Count; Learn How Top Artists Paint; How the Academic Technique can Work for You
    Read More >>
  • Okay, okay! You win! Here’s your Free eBook on Plein Air Painting
    Point Lobos , oil, 12 x 16. All works by Matt Smith . Have you ever had a moment where you’ve stumbled on something unexpected and you think to yourself, “What a find!” That was so me a few days ago. I read an amazing Q&A that one
    Read More >>
  • Palette Knife in Hand
    Palette knife painting sounds a little edgy and dangerous, but it’s really all about texture—the thick impasto swipes and flat sweeps of color that make up the surface of a painting. I’ve never created an entire painting with just a palette knife before, and I wanted to see what the
    Read More >>
  • The Art of Painting Water: 4 Plein Air Tips
    Water is perhaps one of the more challenging subjects to paint convincingly in a plein air landscape painting. Whether one is inspired by the ocean, a river, or a pond or lake, each subject requires a studied familiarity and often distinctly different paint handling. Here are a just a few tips that we
    Read More >>
  • Stuff of Dreams--Painting on Panels Workshop in Italy
    Margaret Krug, painter, writer for American Artist , and author of An Artist Handbook: Materials and Techniques, is teaching a one-of-a-kind program, Painting on Panels , from August 12-26 in Spannocchia, Italy. The scope of the workshop is traditional
    Read More >>
  • It's Time to Take Sides: Color vs. Form
    Leah , oil on canvas, 2010, 24 x 20. The Sicilian Expedition , oil on canvas, 2010, 60 x 40. They say that there are two kinds of painter: color painters, and the other kind--the kind that focuses on form, tone, and line. I'm that "other"
    Read More >>
  • Painting with a ‘Show Me’ State of Mind
    Darrell Brown paints simple, seemingly timeless "portraits" of fruits and vegetables. A few days ago a reader came to me with a good point: If an artist running a workshop can talk about the philosophy behind his or her oil painting art, all
    Read More >>
  • The One Skill Every Artist Needs
    As plein air artists, we have had to become very aware of our own visual filtering processes--our visual biases. We train ourselves to focus our eyes and our minds on the subject before us, but it is only when we can quiet the mind from labeling and judging what we see that we are ever able to truly
    Read More >>
  • Workshop, Summer 2010
    10 Keys To Making Accurate Judgments; Use Measurements & Simple Shapes for Better Portraits; Learn Variations of Impressionist Painting; 4 Stages Of Successful Plein Air Paintings
    Read More >>
  • Developing a Narrative Theme for an Oil Painting
    For a while now, I have been exploring narrative themes. This is what R. H. Ives Gammell called “poetical pictures.” In the 19th century, this was commonly referred to as “history painting”, but by history they did not just mean world events as we define the term. “Poetical
    Read More >>
  • Plein Air Painting Essentials: How to Paint Trees
    This plein air painting by Tom Brown is impressionistic, but gives you a distinct sense of the form and structure of the scrub tree he's painting. We often think of trees in a very human way—that they have personalities and traits that distinguish
    Read More >>
  • Video on Light and Shadow: Portrait Painting with Scott Burdick and Daniel Gerhartz
    The American Artist Weekend With the Masters events are always a whirlwind of activity—new people to meet, alluring art to gawk over, and then there are the workshops. Articulate, passionate artist-instructors share their own particular artistic
    Read More >>
  • Jumbo Fruit, Giant Seashells
    Lemons by James Tormey, oil on canvas. Natural objects in sharp detail--that says it all according to artist James Tormey. For him, creating great still life paintings is a matter of painting natural objects in sharp detail. Tormey works on large-scale
    Read More >>
  • Plein Air Painting Techniques: How to Paint Clouds
    Clouds are not all created equal, just like not every sunset or skyscape is the same. They all have their own unique look and feel, even though we can see them all the time. And it is the plein air artist's goal, passion, purpose to eek out that unique something in every scene they decide to paint
    Read More >>
  • Home Ground - Finding Inspiration in the Familiar
    The lesson we first learned when living and painting in the Hudson Valley in New York is that as plein air painters there is a deep pleasure to be gained from becoming intimately familiar with the same piece of ground over many years. The process is essentially a silent conversation, in which we can
    Read More >>
  • A Painter's Best Bet: Stay in Kindergarten
    Jeffree , oil, 18 x 15. All works by David A. Leffel. I spend a lot of time brainstorming how an artist can become an Old Master of the 21st century. What kind of confidence, skill, and vision will it take for an artist working today to gain that reputation
    Read More >>
  • If I Could Paint Any Four Walls
    After developing an unnatural dependency on my galoshes and stocking my kitchen shelves with an outrageous amount of sugary sweets in case of snowstorms, I’ve come to realize that it is nice to be on the inside, cozy and warm, looking out. My creature comforts appreciation has definitely also influenced
    Read More >>
  • How Do You Paint a Natural Wonder?
    Springs Caprice by Curt Walters, 36 x 36. Content adapted from an article by Allison Malafronte. Arizona artist Curt Walters is well known and recognized for his plein air impressionist paintings of one of the most inspiring natural wonders in America
    Read More >>
  • Faith in the Wilderness--How One Oil Painting Artist Stays Committed
    Perhaps sometime over the last couple of years, you looked at your most recent drawing or oil painting and thought “Why am I doing this?” The economic recession has caused all of us to rethink our commitments and has given many artists reason to doubt that “making it” as a professional
    Read More >>
  • How’s Your Plein Air Vision?
    Somewhere out there, maybe even as you read this, a group of hungry, dedicated artists are taking a plein-air painting workshop. And at some point during this workshop—perhaps right at this very moment—one of those aspiring artists will ask the classic question voiced at least once in every
    Read More >>
  • 5 Surefire Plein Air Painting Techniques
    The Evening Show by Clyde Aspevig, oil, 40 x 36. You can often tell a painting that was painted en plein air from one that wasn’t. There is an immediacy to the light and atmosphere depicted in plein air paintings that isn’t always achieved
    Read More >>
  • Inspired Vision - Why Traveling to New Landscapes is Important to the Plein Air Painter
    In the 25+ years that we traveled to northern New Mexico to paint, we have explored its charms in every season of the year and have never failed to find wonderful scene after wonderful scene for a plein air painting . A big part of this charm is that this area of the Southwest is just inherently stunning
    Read More >>
  • Oil on Canvas: What I'm Up To
    Study for Pandora , oil on canvas, 2010. All works by Patricia Watwood. For the past six months, I have been working away at a new series of figure paintings. Over the next weeks and months, I will tell you more about each of them, and the steps involved
    Read More >>
  • Is "How to Paint" the Right Question?
    When we start making art, we don't start from a position of, "I want to paint like so-and-so," or not even, necessarily, "I want to paint well." We should start from a position of, "I have a need to make art." This is an important principle; it gives us the strength
    Read More >>
  • Spring 2011
    Turn Mistakes into Masterpieces; create the element of surprise with acrylics; get creative with Sunlight and Shadow; use value studies To Save Time; go inside Workshops With the Pros
    Read More >>
  • How to Paint a Piece of Americana
    Shaker Barns by Charles Sheeler, 1945, tempera on board. When I think of the features that make up a truly American landscape, there’s one structure that always sticks out in my mind—a big, broadsided barn. They dot the countryside from coast
    Read More >>
  • Plein Air Painting: Finding Your Commitment and Accountability
    This past Saturday was a beauty. The weather was warm enough to be outside comfortably, the light was sparkling, and it would have been a fine day to paint en plein air. Would have... if I had painted. But I didn’t. Instead, I went to a meeting and then spent the afternoon on the computer, completing
    Read More >>
  • Extreme Painting - Part III: Painting the Winter Night en Plein Air
    I like pastel for winter work because of the ease of not having to deal with paint thinner, stiff paint, or mixing color on a palette. When winter graces us with her charms and everywhere you look is covered in a beautiful layer of snow, Ann and I get
    Read More >>
  • Free Video Demo—Watercolor Painting With Mary Whyte
    Learn more about Mary Whyte’s full-length DVD. I'm a reader and studier by nature, but the lessons and techniques that I learn from books and magazines always seem to click much quicker when I watch an artist paint, rather than try to puzzle
    Read More >>
  • Bring Together the Outdoors and Indoors In Your Landscape Paintings
    When I’m landscape painting I’m always drawn to the curious, in-between places where the outdoors and indoors meet. This could be an ivy-smothered barn that almost looks like it is disappearing into the landscape, or an ocean view from an open window. The places where architecture and the
    Read More >>
  • The Upside of Plein Air Competition
    Cincinnati artist Monica Achberger participating in a paint-out in Milford, Ohio, sponsored by the Ohio Plein Air Society in August 2010. Looking ahead to the next few months, there are countless plein-air painting competitions coming up. We’ve
    Read More >>
  • Oil Painting, Studio Practice, and More from New Blogger Patricia Watwood
    Waiting for Supper , 18” x 35”, oil on canvas, 2010. All works by Patricia Watwood . Hello! I am delighted to begin this new venture with Artist Daily and start an ongoing conversation about my painting process and my thoughts on art. Most
    Read More >>
  • Extreme Plein Air Painting - Part II: Shadow Light
    Tracks II by John Hulsey, pastel. With the high-contrast conditions of winter sun on brilliant snow, we have been exploring the colors of snow and shadows in our plein air paintings. Shadows are essential because they create the form and interest in a
    Read More >>
  • Twilight Painting en Plein Air--No Vampires, Please
    Painting during twilight often means the added complication of using artificial lights to illuminate your canvas. This blog has been adapted from an article written by Allison Malafronte. Plein air painting during twilight is exciting but challenging
    Read More >>
  • Landscape Painter Clark Hulings Dies at Age 88
    The Lonely Man by Clark Hulings Last week, we received some surprising and very sad news in the American Artist office. The widely-admired landscape painter Clark Hulings had passed away at the age of 88. We learned this less than a day after finishing
    Read More >>
  • Extreme Plein Air Painting--Conquering Old Man Winter
    Fire and Ice by John Hulsey, watercolor. We both love painting landscapes outside, especially in the winter, when the air is clear and the landscape is reduced to its architectural purity. But winter weather conditions are rarely moderate in the places
    Read More >>
  • Sunset En Plein Air
    A sunset sketch by painter Thomas Van Stein. This blog has been adapted from an article written by Allison Malafronte. Plein air painting is all about light and atmosphere. Painting during sunrise or in the heat and intense light of the day can result
    Read More >>
  • Plein Air Painting: Isn’t It Romantic?
    Oak in the Snow by Caspar David Friedrich, 1825, oil, 44 x 34.5 cm, Wallraf-Richartz Museum, Cologne, Germany. I think all landscape artists and plein air painters have a touch of the romantic in them. It doesn’t really matter what type of landscape
    Read More >>
  • It's Finally Here: Our New Free eBook on Oil Painting Techniques
    I’ve always prided myself on learning good technique when faced with any new skill, and doing this has definitely made a difference. That goes for when I was learning to dance, swim, draw, or paint in oil. Art techniques were always especially rewarding to tackle this way, because once you grasp
    Read More >>
  • You're Gonna Need a Pair of Boots
    Painting outdoors in winter can be an extreme sport. The snow, the wind, the cold—it takes a certain kind of artist to paint a winter landscape while in a winter landscape. The first time I attempted this was a couple of years ago when I was living in Connecticut. Two feet of snow had fallen the
    Read More >>
  • How to Evaluate Your Outdoor Painting
    Thomas Van Stein's student stepped back, with the help of her instructor, to evaluate her work. This blog has been adapted from an article written by Allison Malafronte. Amidst all the sights, sounds, and smells that swirl around you when plein air
    Read More >>
  • Painting Instruction Highlights from Master Teachers, Fall 2009
    14 Top Instructors Share Their Secrets; How to Paint From Photographs; Complete Instruction in Painting Figures, Still Lifes & Landscapes; 12 Step-by-Step Demonstrations & Lists of Materials Check out what's featured in the Fall 2009 issue of American Artist Highlights.
    Read More >>
  • A New Blogger and Checking Your Plein Air Painting Checklist
    A beautiful afternoon, some free time in the fresh air, a stunning location...I can’t wait for the weather to get just a touch warmer so I can get out and paint again. And as we look to the future, I’m thrilled to be joining all of you at Artist Daily as a regular blogger on the life of a
    Read More >>
  • Don't Fear the Pack
    As much as the stereotype of the solitary painter working alone and shutting him- or herself off from the world makes artists seem mysterious and cool, I’ve found that artists tend to be fairly social creatures, and their cool factor isn’t lessened by their sense of community. Sometimes this
    Read More >>
  • Artist Daily Video--Watch A Master Start A Portrait
    Imagine breaking down even the most complex painting into just a handful of shapes. Painter Ron Hicks has found that the process of painting a portrait can be intimidating, if not overwhelming, to even the most practiced painters because a lot of detail is often confused with what makes a successful
    Read More >>
  • Learn the Latest Tips in Our Free Portrait Painting eBook
    Trying to capture the likeness of a person in a finite period of time and meeting the high expectations often associated with portraiture are far from effortless tasks. They take commitment and savvy to do well. Our eBook Oil Painting Lessons on How to Paint a Portrait: 15 Portrait Painting Techniques
    Read More >>
  • Workshop, Fall 2009
    Use a Limited Pallette for Greater Benefits; 10 Concrete Solutions for Figure Painting; How to Accurately See the Color Light; Andrea J. Smith; Bryan Mark Taylor; Steve Huston; Clayton J Beck III.
    Read More >>
  • Nature with a Bit of Edge
    Shaped by Reaction , acrylic on maple panel, 2010. All works by Tiffany Bozic. Courtesy Joshua Liner Gallery. Looking at San Francisco-based artist Tiffany Bozic’s work is a bit like falling down Alice’s rabbit hole: the natural world looks
    Read More >>
  • Make a Painter’s Resolution
    I’m starting this year by reassessing my approach to painting and recommitting to more concentrated studio time. I don’t necessarily feel that I want to completely revamp my process, but there are a few old habits that I want to break and a few new ones I want to instill. I’ve found
    Read More >>
  • Be An Artist Who Cares Deeply
    During this time of the year, as acts of generosity and appreciation abound, I’m drawn to the works of the painters and draftsmen of the Ashcan School, which thrived during the early 20th century. This group of artists—among them Robert Henri, Everett Shinn, John French Sloan, and William
    Read More >>
  • Don't Paint the Sky Blue!
    Because it’s hardly ever really blue. Think of Turner’s skies or even Monet’s—they are multifaceted and carry the hum of several colors. As many of us transition from painting outdoors to inside the studio, we can sometimes make assumptions and take certain things for granted
    Read More >>
  • New Video Blog: See the Secret to Positioning Your Brush
    We’ve been cooking up the Artist Daily Video Blog for a while now, and I’m thrilled that it’s time to unveil it to all of you. The name says it all—it is a part of the Artist Daily blog that we will be creating in video form. There
    Read More >>
  • Free eBook—Full of Acrylic Painting Techniques for You
    Sunset in the Teton Valley by Gil Dellinger, 2008, acrylic, 16 x 20. Almost all the painting I did in college was with acrylics, and most of the students I worked in class with did the same. Painting with acrylics was our best option because the paints
    Read More >>
  • Should You Paint Lies?
    Les reclus by Philippe Jacquet, 31 1/2 x 46 1/2. All images courtesy Axelle Fine Arts. Most painters I’ve spoken to say that it’s somewhat liberating to paint an imagined subject or a fictitious place. Working in such a way does come with
    Read More >>
  • It's Not in the Details
    Noelle with a Black Dress by Ron Hicks, 2007, oil, 20 x 16. Collection Gallery 1261, Denver, Colorado. I think photography has altered the way we judge the painted portrait. With the ability to capture a photographic likeness—from the details of
    Read More >>
  • Portait & Figure Painting Highlights
    Reflect Your True Vision with Accurate Form Now you can paint the human form with the depth and detail it deserves – your artwork will come alive with this exciting special issue from American Artist: Portrait and Figure Painting Highlights Fall 2010. Improve the detail of your portraits with 100
    Read More >>
  • What Painters Rarely Do
    The Lantern Bearers by Maxfield Parrish, 1908, oil on canvas board, 40 x 32. I have a confession to make: I've never glazed with oils. The process intimidates me a bit—creating luminosity and an inner glow on canvas is no easy feat—and
    Read More >>
  • Where Exceptional Artists Gather
    Watercolorist Stephen Scott Young getting into the details of his watercolor technique with students. All photos by Manuel Rodriguez . Artists of the past are often remembered as working solo, toiling alone in their private studios and intimate garrets
    Read More >>
  • Coming To You From Weekend With the Masters
    Artist and instructor Marcia Burtt painting a beach scene at Weekend With the Masters. I can honestly say I've never been to an event like American Artist's Weekend With the Masters workshop and conference, which is currently underway in Southern
    Read More >>
  • Counting Down to the Big Event
    Twilight by Anthony Ryder, 1998, pencil and pastel on gold paper, 25 x 19. The event I’ve been looking forward to since I came to Artist Daily is just a few days away. Weekend With the Masters 2010 is almost here. I’ve been told that the energy
    Read More >>
  • Paint to Preserve the Scenery You Love
    As an artist who has painted the natural world for over 20 years, Adam Straus has a complicated connection to his environment. In the 1990s, he painted Oil Slicks , a series of paintings that referenced the oil spills that happened at the time, and the relevancy of these paintings has been asserted again
    Read More >>
  • The Best Part of Painting?
    Clouds Moving , 1999-2009, oil on canvas, 31 1/4 x 37 1/2. All works by Bernard Chaet. Courtesy David Findlay Jr Fine Art . It’s the materiality—or, for many, that’s at least part of it. The buttery rich feel of paint moving across the
    Read More >>
  • Workshop, Fall 2010
    On the Cover: Painter Peter van Dyck leading a workshop at the Pennsylvania Academy of Fine Art. FEATURES Frank Serrano: Accurate & Efficient Plein Air Landscape Painting by M. Stephen Doherty In his popular DVDs, book, and workshops, California artist
    Read More >>
  • Defy Expectations—See In a New Way
    No matter the venue, the accepted rule of thumb is that a painting should always be hung just above eye level. As a result, many artists create paintings with this point of view. Louisiana artist Mitchell Long seeks to subvert this expectation by manipulating vantage points in his paintings of landscapes
    Read More >>
  • Paint for Peace
    La Danse (I) by Henri Matisse, 1909, oil on canvas,102.4 x 153.9 in. I've always believed that art speaks most profoundly when it actually has something to say. Communicating with a viewer is a powerful opportunity, and The Peace Project engages artists
    Read More >>
  • Drawing with Thread, Paint, Paper & Pen
    Whiskey Creek (Spring) By Kate Ha rding, 2008, found leather garments, thread, grommets, and steel hooks, 54 x 35. One of the things I love about the artistic process is that we all share the need to put our creative energy into practice, we do it in so many different ways, and yet we usually have a
    Read More >>
  • Take Your Painting Skills Abroad
    Breakthroughs in our artistic practices often come with a change—of venue, of process, or even from within our own creative mindsets. Workshops offer the opportunity to step outside the studio, and suddenly we can see and evaluate from a completely different vantage point.
    Read More >>
  • Are You Using This Critical Painting Technique?
    The process of underpainting has such a buttoned-up reputation. If it were cast in a movie, it would be the uptight, by-the-book stickler that no one wants to hangout with. That’s because the process of underpainting is often associated with a belabored, rigid series of steps that delays us from
    Read More >>
  • Draw on Tradition to Create Lasting Art
    I'm always surprised-and, okay, a little peeved-when my mention of an arts background is often met with a puzzled look followed by the somewhat skeptical question, "What do you do with that?" The truth is there's a lot to do with that, especially now-at a time when images are all around
    Read More >>
  • Free eBook for Your Best Summer Outdoor Painting Experience
    With summer in full swing, I've been spending as much time as possible outdoors, going to concerts and plays, walking from place to place when I do my errands, and just finding every excuse for an outdoor excursion. Plein air painting is another perk of the season. There's something invigorating
    Read More >>
  • Learn to Paint the Unexpected
    Artists are the sharpest of observers, attuned to a person's passing gesture or the play of light and shadow on a building façade—but not everything that catches our eye is a painting waiting to happen. For Utah watercolorist Joseph Alleman , the stories that hold his interest are reflections
    Read More >>
  • Best of Watercolor, 2010
    On the Cover: Barrens in October (detail) by Paul Rickert, 2002, watercolor, 11 x 14. Collection the artist. Artists In This Issue Anne Abgott Jane Paul Angelhart Sue Archer Bo Bartlett Dan Brown Peggy Brown Carl Dalio Sondra Freckelton Laurin McCracken
    Read More >>
  • Make the Most of the Plein Air Painting Season
    Almost any artist will tell you that there's a certain appeal to working outdoors that can't be found anywhere else. With summer in full swing, many of us have left our studios for our porches, backyards, and beyond. To celebrate the season and all of the art being made en plein air, here are
    Read More >>
  • Paint Every Figure With the Power of a Portrait
    Painting the people and places one sees every day can be either a mind-numbing trial or an impetus for creativity that just happens to be homeward bound. For New Jersey-based artist Michael de Brito-who has spent the last several years painting family members and friends in familiar surroundings, such
    Read More >>
  • Plein Air Classes at WWM 2010
    American Artist’s Weekend With the Masters Workshop & Conference will be arriving on the sunny shores of Southern California this September 22-26, in our second-annual presentation of this four-day event. Workshops, demos, lectures, panel discussions, and evening events from more than 25 instructors
    Read More >>
  • July/August 2010
    How to Paint Landscapes; 10 Cover Contest Winners Offer You Their Best Advice; Combine Watermedia & Pastel for Inspired Results; Express Content with Fewer Brushstrokes
    Read More >>
  • Sharpen Your Ability to Judge Color Tone and Value
    In last Friday's post featuring artist-instructor Kerry Dunn, we explored some of the opportunities and challenges that an extensive color palette offers. On the flipside, Bulgarian-born painter Ignat Ignatov understands how an artist can benefit from the use of a limited palette. For a time Ignatov
    Read More >>
  • Discover How to Use an Extensive Painting Palette
    There is nothing that defines an artist quite like his or her palette. Some consist of premixed colors and others are developed in the moment, determined by the needs of each painting. Some artists are meticulously organized, with paints arranged by color temperature, while other artists arrange colors
    Read More >>
  • Workshop, Summer 2010
    On the Cover: Camie Davis (below) teaching at the Grand Central Academy of Art, in New York City. Photo by Nathan Kraxberger Cedric Egeli: Knowing How to Learn FEATURES Workshops as Shared Learning Experiences by M. Stephen Doherty A number of valuable
    Read More >>
  • How to Successfully Paint Color Relationships from the Start
    Painting instructors often ask students to consider two important relationships between the colors squeezed out on their palettes: value and temperature. By that they are asking them to consider whether one color mixture is lighter or darker than another, and whether the mixtures tend to have a warm
    Read More >>
  • Learn How to Paint Like a Sculptor
    Weekend With the Masters instructor Jacqueline Kamin paints with a sculptural sensibility that isn’t at all foreign to her practice. Earlier in her career she spent time as a bronze bust sculptor. “Working with sculpture is a lot of fun,” Kamin says. “It is very tactile and organic
    Read More >>
  • What Every Artist Can Learn From Plein Air Painting
    After several months of hiatus, the Plein Air blog is back! Our new Artist Daily editor, Courtney Jordan, and I have worked out a biweekly schedule to get the Plein Air blog back on track, and I’m excited to resume coverage of the artists, events, exhibitions, tools and tips, and conservation issues
    Read More >>
  • Recouping Lost Artistic Opportunities
    It’s often the case that when you live somewhere, you don’t take full advantage of the opportunities that the place affords, and only after leaving do you realize how valuable those opportunities were. This can be true for artists, who, after moving, may regret not utilizing a strong local
    Read More >>
  • What Artists Reveal with Self-Portraits
    When I walk through a museum or gallery, there are certain paintings that I breeze past and others that always draw me in. Self-portraits definitely fall into the latter category. I’m always intrigued by how artists choose to represent themselves and perpetuate their own personal mythologies. True
    Read More >>
  • Adaptability and Durability are Proven Aspects of Encaustic Painting
    After spending all day sitting at my desk, click-click-clicking away on my computer, I savor getting out and being active, especially if I’m learning a new activity or skill. It’s the difference between reading through the steps of a complicated, unfamiliar process and actually seeing it
    Read More >>
  • Workshops Raise the Bar for Artists
    Robert Johnson strikes the perfect balance between master artist and down-to-earth mentor, supporting his students while pushing them to create the best works that they can. At a recent three-day workshop sponsored by The Art League School in Alexandria, Virginia, Johnson led students through the stages
    Read More >>
  • June 2010
    SPECIAL REPORT Explore New Creative Ideas With Acrylics; Learn From Sorolla’s Epic Masterpiece; Increase the Drama in Pastel Paintings; How to Plan & Improve Your Watercolors
    Read More >>
  • New eBook Teaches Acrylic Painting in 7 Steps
    Paintings of the sheer peaks of the Alps or serpentine glimmer of the Hudson River showcase the awe-inspiring characteristics of the natural world. But there’s something equally compelling about depictions of interior spaces. Think of how bleak and bereft Edward Hopper’s bedroom scenes are
    Read More >>
  • When Your Art Goes on the Road
    Gaining exposure and recognition for one’s work starts with putting finished pieces in the public and critical eye. This can mean participating in local community shows or full-fledged exhibitions, entering competitions, and hanging pieces in galleries. It is an exciting prospect, but it can also
    Read More >>
  • Accessing Universal Emotions Makes a Successful Portrait
    Models With Japanese Screen by Malcolm T. Liepke, 1986, oil, 26 x 20. Courtesy Arcadia Fine Arts, New York, New York When I went away to college I took a token from each of my loved ones. There was a Frankie Laine CD from my dad, a grungy Pearl Jam T
    Read More >>
  • Take Advantage of Our Plein Air Expertise
    Kevin Macpherson is a renowned artist and instructor with 30 years of plein air painting experience. For newcomers, painting en plein air means literally, painting “in the open air,” and is the genre associated with painting outdoors. In 1996, Macpherson challenged himself to what I’d
    Read More >>
  • A New Take on Still Life Painting
    A still life changed my life?! It sounds corny, but it’s a little bit true! It was Francisco de Zurbarán’s Still Life with Lemons, Oranges and a Rose . He was a Spanish Baroque painter and I was a freshman searching for a major. Bliss and art history degrees followed.
    Read More >>
  • Free Tips and Techniques for Painting Oil Landscapes
    With landscape artist Chris McHenry's hard-won oil painting tips and techniques, you’ll start to understand how to create a realistic sense of contrast for objects in your paintings, establish depth and focus in a landscape painting with a balance of warm and cool colors, and more. Attending
    Read More >>
  • American Artist: Everything You Need to Know About Plein Air Painting
    On the Cover: Deb Painting Spring Creek (detail) by Edward Martinez, 2006, oil, 22 x 14. Collection the artist. Jim Wilcox: Western Landscapes Using Plein Air Sketches, Photographs, Research, & Imagination to Create Studio Paintings Plein Air Past
    Read More >>
  • April 2010
    How to Paint With Spontaneity & Insight; Benefit from a Beginner's; Sense of Adventure; Bring Drawings to Life In Watercolor Paintings; Professional Advice on Painting With Pastel, Oil & Watercolor and much more!
    Read More >>
  • Finding Your Personal Style
    It’s often said that artists don’t find their personal style—it finds them. Although I agree with this statement, I found in my experience that individual style develops only after a number of other tasks are accomplished. All professional
    Read More >>
  • Taking Advantage of Free Instruction
    I recently joined a gym in my neighborhood, with the hopes of working off some of those extra holiday pounds that seem to wear out their welcome around this time every year. My schedule is pretty busy, so I try to streamline my visits, making a beeline
    Read More >>
  • Workshop, Spring 2010
    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
    Read More >>
  • Sight-Size Drawing and Painting
    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
    Read More >>
  • Paint Landscapes From Sketches, Memory, and Photographs
    Ever since my trip to Venice, Italy, last year, I have been looking at paintings of the city by 19th-century artists such as Sargent and Whistler, as well as contemporary artists such as Steve Rogers and Leonard Mizerek . I've become more aware of
    Read More >>
  • Free Watercolor Painting Tips and Techniques
    It’s often said in sports circles that the best players often make the worst coaches. That’s because it is hard for naturally gifted athletes to relate to players who are not so innately talented. A perfect example of this is former Boston
    Read More >>
  • Watercolors by Architects
    Greek Steps, Sifnos by Thomas W. Schaller, 2008, watercolor, 12 x 9. I just finished writing an article on Thomas W. Schaller's watercolor paintings for the April 2010 issue of American Artist, and it occurred to me that Thomas is the third licensed
    Read More >>
  • Painting From Photographs
    I normally work from plein air sketches or my imagination, but this scene I photographed while on vacation in Costa Rica was just too beautiful to pass up. As most artists do when working from a photo, I made adjustments to the composition to better suit
    Read More >>
  • 24 Tips to Learn How To Paint a Plein Air Landscape
    Our newest free eBook, “24 Tips to Learn How to Paint a Plein Air Landscape,” is now available to download, and in it you’ll find tips on how to get started working en plein air and how to improve your en plein air painting technique
    Read More >>
  • Watercolor, Winter 2010
    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
    Read More >>
  • En Plein Air: Holiday Exhibitions & Shows
    ‘Tis the time of the year when galleries across the country host their annual holiday exhibitions, giving artists, dealers, and collectors the opportunity to gather around great art and share some Christmas cheer. Whether these shows are organized
    Read More >>
  • Selling Without Galleries
    Over the past decade, I've worked with half a dozen commercial galleries, and although I enjoyed the prestige of being able to say that I am represented by a gallery, the truth is that I've been able to sell my artwork better on my own. Many of
    Read More >>
  • Important New Research on Artists and Art Materials
    It’s quite probable that you were already creating artwork by the time you were 20 years old. In fact, you were likely spending a good bit of time drawing, painting, sculpting, or crafting when you were 12. Those are two of the inferences that might
    Read More >>
  • En Plein Air: One of the First Filmed Plein Air Painters
    Although revered for his portrait work and known for being an artistic rival of his contemporary John Singer Sargent, Philip de László also painted landscapes, and one of the first known film documentations of an artist painting en plein air depicts him. That film clip of the artist painting
    Read More >>
  • Free Lessons From Top Watercolor Artists
    The basic set of supplies John Hulsey uses when painting on location. The recent spat of wet weather in New York has made it difficult to get outside to paint, but that doesn’t mean we in the American Artist offices haven’t been thinking about
    Read More >>
  • Showcase Your State: North Carolina Finalists!
    The American Artist editors have reviewed the submissions for the Showcase Your State: North Carolina contest, and below are the four chosen finalists. Whether it was expansive views of the Blue Ridge Mountains as seen from the Highlands; still, serene
    Read More >>
  • Building Rich and Full Layers
    By subtly layering pastel, Marlene Wiedenbaum creates a luscious and convincing sense of the world.
    Read More >>
  • Why I Must Paint Plein Air Studies
    I admit that I am not one who adores painting on location. If the truth be known, when I visit a national park, I'd rather be exploring and walking around—taking photos of everything that strikes my interest. Oh yes, I've paid my dues by
    Read More >>
  • En Plein Air: The Physics of the Sky
    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
    Read More >>
  • How to Adjust to New Painting Subjects
    Curt Walters painting at the Grand Canyon. None of us want to be stuck in the rut of painting the same subjects over and over again, so we try different landscape locations, select new groups of still life objects, or join a sketch group that hires models
    Read More >>
  • How to Act Like an Art Collector
    When artists shop for a gallery to represent them, it's helpful if when they first visit they avoid acting or looking like an artist and instead take on the behavior of a collector. This can help you to learn how attentive a gallery’s staff is, and it allows you to assess how much they know
    Read More >>
  • En Plein Air: A Conversation With Jacob Collins
    Known primarily for his figurative work and for leading a resurgence in classical art education through his Water Street Atelier and the Grand Central Academy of Art, in New York City, Jacob Collins is now the founder of the Hudson River Fellowship ,
    Read More >>
  • En Plein Air at Weekend With the Masters
    Weekend With the Masters recently concluded in Colorado Springs, and I thought I’d share some of the photographs from the plein air portion of the event with you here. Enjoy!
    Read More >>
  • Painting Instruction Highlights from Master Teachers, Fall 2009
    14 Top Instructors Share Their Secrets; How to Paint From Photographs; Complete Instruction in Painting Figures, Still Lifes & Landscapes; 12 Step-by-Step Demonstrations & Lists of Materials Check out what's featured in the Fall 2009 issue of American Artist Highlights.
    Read More >>
  • Presentations That Help Sell Artwork
    I recently attended the opening of an exhibition of artwork by a group of artists, and the display raised questions in my mind about the impact of presentation on sales and career development. The exhibition was a temporary display in a community center
    Read More >>
  • November 2009
    Check out what's featured in the November 2009 issue of American Artist.
    Read More >>
  • The Artist We Love to Hate
    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
    Read More >>
  • Priming Your Mind for Painting
    by Lori Woodward Simons As I've mentioned in past blogs, artists are motivated visually—at least I am. It seems our minds follow and are motivated by what we see. So in order to get busy on a painting, I need to remove myself from distractions
    Read More >>
  • Watercolor, Fall 2009
    Check out what's featured in the Fall 2009 issue of Watercolor .
    Read More >>
  • Behind the Scenes: Artists' Studios
    My office is also a conference room on the third floor of a building on 46th Street in Midtown New York City. The desk and file cabinets are pushed against the east wall of what was once a library, and a large conference table and eight chairs are arranged
    Read More >>
  • 3 Proven Ways To Start Watercolors Outdoors
    Michigan artist Jim Johnson offers valuable hints for successful watercolor painting outdoors.
    Read More >>
  • October 2009
    Check out what's featured in the October 2009 issue of American Artist.
    Read More >>
  • Workshop, Fall 2009
    Check out what's featured in the Fall 2009 issue of Workshop magazine.
    Read More >>
  • Andrea J. Smith: Expand From a Limited Palette and Focus
    In the new atelier she opened in Rome, Andrea J. Smith teaches students to use a limited palette of colors when painting exactly what they see from a measured distance away from the subject and the easel.
    Read More >>
  • Plein Air Exhibition on Balboa Island
    The artwork of nationally recognized plein air painters Greg LaRock, Jeff Sewell, Carolyn Hesse-Low, Jeff Yeomans, and JoAnn Royal will be the subject of a celebratory exhibition at Rainey Fine Art, in Newport Beach, California. The gallery is commemorating its first anniversary by featuring the works
    Read More >>
  • Drawing Basics: Drawing Is Memorization?
    When I first moved to New York City about a dozen years ago, I drew my father's face from memory quite a lot. It usually wasn't a good depiction at all, but occasionally it resulted in a decent drawing of a handsome man — which reminds me
    Read More >>
  • Drawing with Acrylics, Charcoal, Ink, & Conté
    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
    Read More >>
  • Plein Air Painting to Help Special-Needs Teens
    Nancy Bea Miller, a painter and mother of three, has organized a plein air paint-out to benefit the Camphill Special School’s Transition Program for teens and youths with intellectual and developmental disabilities. The paint out will be followed by an exhibition of the artists’ work at The
    Read More >>
  • Drawing Basics: Does Mr. Ed Have an Advantage Over You?
    It's crazy to say that horses have a visual advantage over humans, but with eyes on opposite sides of their heads, they surely don't see in three-dimensional terms like we do. There are times especially for beginners when seeing less--seeing a
    Read More >>
  • En Plein Air: Prepatory Sketch, Or Finished Work?
    I recently returned from a trip to Colorado, and while on that trip I got into quite the (heated) debate with two figure painters who claimed that plein air painters who sell their on-site sketches are bringing down the overall value of art. What’s your opinion? Is plein air painting a means to
    Read More >>
  • Drawing Basics: The One Rule We Hear More Than Any Other From Art Teachers
    Very few rules are absolute in art. But one rule keeps popping up in our magazines, quoted by art instructors and artists of all types...
    Read More >>
  • En Plein Air: The Golden Hour
    Photographers have coined the term “The Golden Hour” to explain the ideal lighting situation that takes place during the first and last hours of light each day. Plein air painters have an equal admiration for this time of day and find the quality and character of light to be well worth the
    Read More >>
  • Children Painting, Laughing, Learning and Your Valuable Advice
    I recently assisted my granddaughter, Amanda, as she painted with water-soluble tempera colors in our backyard. Like most four-year-olds, she loves to draw and paint, and although her drawings have become increasingly controlled pictures of herself, her parents, five pets, and her home, the paintings
    Read More >>
  • The Sublime and the Beautiful: Painting the Hudson Valley
    In honor of the 400th anniversary of Henry Hudson’s voyage, the art community prepares to celebrate the extraordinary history of painting along the Hudson River.
    Read More >>
  • En Plein Air: Paint-Out in Central Park
    Kevin Macpherson, Kenn Backhaus, Joe Anna Arnett, and James Asher—four professional artists who are featured in the PBS series Passport & Palette—will convene in Central Park this Saturday, July 18, for a plein air paint-out. This event is free and open to the public, so be sure to join
    Read More >>
  • En Plein Air: For the Love of Light
    If there’s one thing I’ve noticed about dedicated plein air painters, it’s their love of light and the great lengths they’ll go to behold and/or paint the perfect light condition. I’d like to hear your stories of a particular instance where you risked life or limb to get
    Read More >>
  • En Plein Air: A Conversation With Camille Przewodek
    California landscape painter Camille Przewodek's approach to plein air painting is all about capturing the color of light. She credits her teacher Henry Hensche with opening her eyes to this new way of seeing when she was a student, and now she helps other plein air painters see the light through
    Read More >>
  • How to Paint En Plein Air: Beginner Landscape Oil-Painting Techniques
    California landscape painter Frank Serrano is a popular instructor of plein air painting, generously sharing his knowledge and experience with students and helping them develop a foundation in the fundamentals of painting outdoors. Here we present two step-by-step demonstrations, taken from his book
    Read More >>
  • En Plein Air: The 400th Anniversary of the Hudson River Valley's Exploration
    As the Hudson River Valley gears up to commemorate the 400th anniversary of Henry Hudson’s voyage, landscape painters are remembering the famed 19th-century Hudson River School painters who put the Hudson on the map and are celebrating with plein air events and exhibitions of their own.
    Read More >>
  • Drawing Basics: Drawing Day Results
    I can't speak for anyone else, but I sure enjoyed Drawing Day 2009 ! I went to Central Park with a friend, loaded down with drawing pencils, drawing sketchbooks, painting supplies, and Gatorade. Several scenes screamed out to be captured in a quick
    Read More >>
  • En Plein Air: On Location in Malibu
    The Frederick R. Weisman Museum of Art at Pepperdine University is once again presenting an exhibition of California Art Club members’ interpretations of the idyllic region of Malibu, California.
    Read More >>
  • Minimal Means, Maximum Impact
    Using subtle washes and minimal detail, Keiko Tanabe creates a powerful sense of time and place.
    Read More >>
  • Showcase Your State: Now Accepting North Carolina Entries!
    Our Plein Air: Showcase Your State competition allows artists from all over the country to share paintings and personal sentiments about the landscapes they love with the American Artist online community. We are now accepting entries for the state of North Carolina, and finalists will be announced in
    Read More >>
  • How to Triumph In Spite of the Odds
    Emerging artist Daniel James Keys couldn’t enroll at an art school, but he used every other available means to educate himself as an artist, to connect with other painters, and to promote his artwork. His experience proves that with determination, support, and computer savvy, artists can make significant
    Read More >>
  • Showcase Your State: Massachusetts Winners
    Our national Plein Air: Showcase Your State competition allows artists from around the country to share their interpretations of the landscapes that define their home states. This month we feature the Showcase Your State: Massachusetts finalists.
    Read More >>
  • Qiang Huang: Myth Buster
    This Texas oil painter shatters multiple myths—including the notion that artists are myopic and single-minded. Qiang Huang helps workshop participants learn how to draw, paint, and sell their artwork using modern technology and traditional painting methods.
    Read More >>
  • Workshop, Summer 2009
    The Table of Contents for the Summer 2009 issue of Workshop magazine.
    Read More >>
  • William Jameson: The Elements of a Great Workshop
    During a recent workshop in the Lowcountry of South Carolina, William Jameson provided instruction in plein air oil painting, but he knew it was just as important to offer encouragement and direction to students while they enjoyed the experience.
    Read More >>
  • En Plein Air: Pearls From Painters Past
    Plein air painters deal with many challenges outdoors, but the first hurdle they usually come across is choosing something to zero in on amid miles of potential subject matter. Here’s what two great landscape instructors of the past have to say about composition and design.
    Read More >>
  • En Plein Air: Favorite Places to Paint?
    All artists have at least one magical place where, no matter what is going on in their day or their life, they can go and just concentrate on the beauty of nature and be rejuvenated by their surroundings. What’s yours?
    Read More >>
  • 6 Tips on Using Color Mixtures
    The articles we publish in American Artist and our quarterly magazines repeat basic advice about one of the most challenging aspects of painting: selecting and mixing colors. Here’s a summary of those recommendations.
    Read More >>
  • En Plein Air: Local Color
    Los Angeles screenwriter, director, producer, and plein air painter George Gallo's movie Local Color will be released this summer and is already touching artists and audiences everywhere through prescreening promotion. Here is a preview of that movie and the story that inspired it.
    Read More >>
  • Rivalries Among Artists
    Steve Doherty asks readers if they have experienced bickering or tension between competitive artists at art association meetings, and compares those rivalries to the ones that occured among artists in 16th century in Venice, Italy.
    Read More >>
  • American Artist Cover Competition Winners Announced
    Artists from across the country submitted their work for consideration in the 2009 American Artist Cover Competition. After an extensive selection process Suzanne Eisler’s Still Life With Butterfly was chosen as the winning image. It is presented here, along with artwork from the nine other finalists
    Read More >>
  • En Plein Air: A Conversation With Scott Christensen
    Idaho artist Scott Christensen is one of the most well-respected landscape painters in the country, and his understanding of light, ability to achieve pure color, and reverence for nature also make him a highly sought-after instructor. In this Q+A section, we list Christensen’s responses to 10
    Read More >>
  • Plein Air Painters at Weekend With the Masters
    More than 18 top painters will be teaching at American Artist’s Weekend With the Masters Workshop & Conference this September, including the following five plein air painters who will be leading master workshops and demonstrations in Colorado’s beautiful Garden of the Gods and Monument
    Read More >>
  • Highlights: Painting Instruction From Master Teachers
    Get instant improvement on your portraits, landscapes, and still life’s from master teachers.
    Read More >>
  • Connecting With Each Other, In Person and Electronically
    Steve Doherty talks about a young California artist he discovered while browsing the American Artist member's gallery.
    Read More >>
  • Respond to What Paintings Need
    Mary Sipp-Green bases her oil landscapes on sketches, memories, and imagination, and she makes careful notations about color combinations that capture her feelings about a particular time and place. Nevertheless, there is a point in the creative process at which she has to “get out of the way”
    Read More >>
  • Resources for Landscape Painters
    Steve Doherty talks about landscape painting, and shows a video of a recent painting excursion in New Orleans.
    Read More >>
  • Showcase Your State: Massachusetts
    American Artist is now accepting Showcase Your State submissions for artists residing in the state of Massachusetts. The submission deadline is April 31, and finalists will be announced in May.
    Read More >>
  • How Do You Personalize Your Still Lifes?
    Recent visits to still life painting workshop and exhibitions has reminded Steve how still lifes provide an opportunity to share some aspect of our lives with those who look at our drawings and paintings. Here, he expands on that thought, and asks about the ways you compose, execute, and personalize
    Read More >>
  • En Plein Air: Kevin Macpherson's Reflections on a Pond
    In the upcoming May issue of American Artist, we feature Kevin Macpherson’s Reflections on a Pond project and describe how he approached this exploratory series on light and atmosphere. That article is posted here, and it can be seen in its full layout when the May issue hits newsstands on March
    Read More >>
  • Watercolor: Setting Up and Painting a Floral Still Life
    A simple floral arrangement can be the perfect subject for beginner still lifes.
    Read More >>
  • En Plein Air: A Conversation With Joseph McGurl
    Joseph McGurl grew up under his talented father’s artistic tutelage while cultivating a passion for boating and a love of the sea. This early influence, coupled with years of hard work and practice, have made him one of today’s foremost landscape painters, and in this interview he shares
    Read More >>
  • Showcase Your State: New Jersey Winners
    American Artist would like to thank all of the plein air painters who submitted artwork for our Showcase Your State: New Jersey contest. From images of babbling brooks and sunlit fields in the suburbs to depictions of sailing ships and lighthouses at the Jersey Shore, New Jersey is clearly a subject
    Read More >>
  • The Impressionists' brushstrokes
    Q: What mediums did the Impressionists use to paint such soft, colorful strokes? A: The long strokes have more to do with technique than a particular medium. It is often said that artists are products of their age. This adage is particularly true of the
    Read More >>
  • Reworking an old painting
    Q: I want to rework an oil painting that has been sitting for more than a year. How should I go about it? A: Begin by cleaning the canvas surface. Wipe away any dust particles with a cotton cloth or with cotton balls. If any dirt is evident, remove it
    Read More >>
  • Oil drying time
    Q: Can I varnish my oil painting as soon as it is dry to the touch? I use a medium made of Damar medium, linseed oil, and turpentine, and have finished a commission that needs to go to the client in one week. Would it be better to not varnish? A: An oil
    Read More >>
  • Retouching oil paintings
    Q : What should I use for retouching? Are Liquin and linseed oil compatible on the same canvas? A : There are many products you can use to go back into your oil painting after it has dried. Winsor & Newton’s Liquin, which produces a matte finish
    Read More >>
  • Varnishing oil paintings
    Q : How often do I have to varnish an oil painting? How do I clean the painting before I apply new varnish? A : A final coat of varnish—on a finished and completely dry oil painting—can last hundreds of years. Sennelier makes two kinds of
    Read More >>
  • English distilled turpentine
    Q: My instructor for an upcoming workshop is requesting we use English Distilled Turpentine. How does this differ from regular turpentine? His painting medium is a mixture of English turpentine, linseed oil, and dammar varnish. A: English Distilled Turpentine
    Read More >>
  • Painting Successful Portraits
    Q: I’m working on an oil portrait, but I’m having trouble getting the right tones. What colors do you recommend? A: Painting a successful portrait is similar to painting a successful still life. Assuming that the subject has one major light
    Read More >>
  • Adhering paper cutouts to oil paintings
    Q: One of my students wishes to mount some paper cutouts from magazines onto her oil painting on stretched canvas. What would be the best way to adhere these, and what is the best way to seal them once the surface is dry? A: If the surface is dry, your
    Read More >>
  • Last -Minute Varnishing
    Q: I just finished an oil portrait for a client, and I need to varnish it. I usually use gloss dammar spray for last-minute varnishes. I know I shouldn’t wait until the last minute, but what would you recommend under the circumstances? A: There
    Read More >>
  • Two Layers of Varnish
    Q: I recently varnished an oil painting with matte varnish, but I am unhappy with the finish (Grumbacher). Can I varnish the painting again with a glossy varnish? A: You can revarnish the painting, but to be safe you should use the same brand of varnish
    Read More >>
  • Acrylic versus Oil Painting
    Q: How do I tell if a painting has been done in oil or acrylic? A: For the most part, an acrylic painting will dry leaving a flat finish and an oil painting will dry leaving signs of brushstrokes. On the other hand, there are many mediums that can be
    Read More >>
  • Cleaning Oil Paintings
    Q: Could you please tell me how to clean an oil painting without damaging the paint? A: Are we talking about maintenance or restoration? There is no system of cleaning that can be applied to all situations, which is why the diagnosis and treatment of
    Read More >>
  • Aging Oil Painting surfaces
    Q: How can I age an oil painting surface to make it look old? A: Very old paintings can yellow over time. Colors may also fade if they are not archival. Without damaging your artwork, you may want to thinly glaze your artwork with either burnt umber or
    Read More >>
  • Painting with Turpentine
    Q: An oil painting I finished a couple of years ago has developed a section that has cracked and fallen off. I never use any medium except turpentine, and always paint "fat over lean.” Since I paint for a living, I'm more than a little
    Read More >>
  • Painting Airy Clouds
    Q: I'm a beginner painter, and I'm hoping you can recommend a technique for painting clouds that will create the illusion of airiness. Can you help me? A: Regardless of your medium—watercolor, acrylic, or oil—the basic rules for edges
    Read More >>
  • Priming Plywood for Oil Painting
    Q: Is it necessary to prime plywood before painting on it with oil? Couldn't I apply a layer of oil paint directly to the board, let it dry, and then start painting on it? A: Painting directly on plywood can prove problematic. Plywood is porous and
    Read More >>
  • Varnish Recipe
    Q: I paint in oil and acrylic, and I've successfully used an acrylic final varnish for both. I seem to have misplaced this final varnish recipe, but I believe that it was part gloss and part matte. Can you recommend a recipe of this type for me? A
    Read More >>
  • April 2009
    The Table of Contents for the April 2009 issue of American Artist magazine.
    Read More >>
  • Modern Ways to Sell Traditional Art
    Ed Terpening may represent the future of art education and marketing. His skills as a plein air painter and a software engineer allowed him to use social-media marketing to build a flourishing art career. Reading about his experiences could help you navigate through the new world of digital communication
    Read More >>
  • Workshop Spring 2009
    The table of contents from the Spring 2009 issue of Workshop magazine.
    Read More >>
  • Quang Ho: Essential Information for Painters of All Levels
    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
    Read More >>
  • En Plein Air: Favorite Landscape Instructors?
    Over the last several years workshops have increased in popularity and attendance as artists find that they can often gain just as strong a skill set and insight by spending one week with an accomplished instructor that they can in months or even years of taking accredited art classes. Who are some of
    Read More >>
  • En Plein Air: The Life & Work of Robert Wood
    Jeffrey Morseburg—the owner of Morseburg Galleries, in Los Angeles—has become an expert on the great landscape painter Robert Wood, having learned of the artist through his father’s personal and professional relationship with Wood, as well as having organized two retrospectives and
    Read More >>
  • What Do Viewers Say About Your Art?
    Steve Doherty talks about the various comments he's received while painting en plein air, and asks other artists what they've heard while working on or exhibiting their art.
    Read More >>
  • En Plein Air: Favorite Quotes?
    In this blog entry, Allison Malafronte lists some of her favorite quotes related to landscape painting and nature, and encourages you to share the phrases, sayings, or sentiments that have inspired you.
    Read More >>
  • Drawing Basics: Michael Graves' Traditional Roots
    Michael Graves may be best known now for designing household items and iconic buildings, but he has roots in traditional rendering, as a 2007 book featuring architectural renderings from a 1960 sketchbook shows.
    Read More >>
  • En Plein Air: A Conversation With Clyde Aspevig
    Clyde Aspevig's technically astute and aesthetically impressive landscape paintings have been inspiring collectors and painters alike for years, and he is often refered to as a living master among those in the landscape genre. Here, the artist offers valuable insight into how he continues to increase
    Read More >>
  • Drawing Basics: Is Pastel a Drawing Medium?
    Many pastelists consider their pieces to be paintings. Here at American Artist, we have tried to steer clear of the debate on whether pastel is a drawing medium or a painting medium, although when put against the wall and poked in the chest, we'll
    Read More >>
  • The Social Aspects of Watermedia Painting
    Steve Doherty discusses the social aspects of watermedia painting and the proliferation of watermedia organizations.
    Read More >>
  • En Plein Air: Favorite Landscape Painters?
    Plein air artists both past and present continue to serve as inspiration for today’s landscape painters. Here associate editor Allison Malafronte offers a look at some of her favorite historical and contemporary landscape painters and asks you to list those who have influenced your painting process
    Read More >>
  • En Plein Air: Letters On Landscape Painting
    Asher B. Durand was one of the great leaders of the Hudson River School of landscape painters, and his monthly “Letters on Landscape Painting” column he wrote for The Crayon offered readers of the time invaluable insight into his approach to painting nature. Durand’s advice is just
    Read More >>
  • Showcase Your State: Extended Deadline
    We are extending the deadline for the Showcase Your State plein air contest until January 31, 2009. We are accepting submissions for New Jersey, Massachusetts, and North Dakota. The first Showcase Your State finalists will appear on this blog in February
    Read More >>
  • En Plein Air: Nocturne-Painting Tips
    At some point most plein air painters try their hand at painting at twilight or at night, otherwise known as a nocturne. This can be a fun and challenging way to expand your skills as a landscape painter and force yourself to judge colors and values under
    Read More >>
  • En Plein Air: A Conversation With Lynn Gertenbach
    by Allison Malafronte It’s time for my favorite En Plein Air post of the month: “A Conversation With”! This month I had the pleasure of interviewing Lynn Gertenbach, the accomplished landscape painter and instructor from California.
    Read More >>
  • Gifts Artists Give One Another
    Steve Doherty asked several well-known artists what gifts they would present to another artist during the upcoming holiday season. Here's what they said.
    Read More >>
  • Exhibition: Sur le Motif: Painting in Nature Around 1800
    This exhibition focuses on the practice of painting sur le motif , or in nature, as it developed in Europe in the late-18th and early-19th centuries. A golden age of plein air painting emerged in Italy around the turn of the 19th century, and artists
    Read More >>
  • En Plein Air: The Salmagundi Centennial
    A Lumpy Sea by James Gale Tyler, 1909, oil. by Allison Malafronte The Salmagundi Club, in New York City, has a long history of being one of the most important art organizations in the country and has held exhibitions over the years that have featured
    Read More >>
  • En Plein Air: A California Exhibition
    Stately Palms by Paul Grimm, oil, 20 x 24. Private collection. by Allison Malafronte There’s a wonderful exhibition of landscape work currently on view at The Irvine Museum, in Irvine, California, that I would like to share with all of you. It’s
    Read More >>
  • Real Men Paint En Plein Air
    by Allison Malafronte Nothing proves a plein air painter’s prowess like surviving a hard-core painting session battling the elements of nature. The young, talented California artists Jeremy Lipking and Tony Pro learned this the hard and—as
    Read More >>
  • En Plein Air: Showcase Your State!
    American Artist is announcing a new contest for the Plein Air section of our website that will allow plein air painters from across the country to showcase their state and tell us a little bit about the landscape they call home. Beginning in December
    Read More >>
  • En Plein Air: A Conversation With Matt Smith
    by Allison Malafronte Every month I allow you to come into my cube for a few minutes and “listen in” on a conversation I had with a top plein air painter. I try to ask the artist the questions I think you as aspiring professional plein air
    Read More >>
  • Useful Art Links
    We have provided a list of links to online art resources that we think are helpful. You can also access these links in the Art Educators section of our website. Art Associations Plein Air Plein Air Painters of America The Plein Air Scene Indiana Plein
    Read More >>
  • En Plein Air: Painting the American Landscape
    by Allison Malafronte Kenn Backhaus painting on the shores of Resurrection Bay, in Seward, Alaska. Part of my job as an editor at American Artist and the “En Plein Air” blogger is to inform you of any events, exhibitions, or products that
    Read More >>
  • Drawings Basics: Art for Writing
    Mark Leithauser collaborated with his brother, the poet Brad Leithauser, on a series of books that expanded his imaginative powers, leading him to consider a multitude of new subjects. A 2002–2003, graphite drawing. All artwork this article courtesy
    Read More >>
  • Oil Critique: "American Grenadier"
    One of the most useful aspects of painting workshops is the personalized critiques offered by knowledgeable instructors. Now you can get this advantage anytime through the American Artist Critique Blog. Through this blog, you can get commentary and suggestions
    Read More >>
  • Oil Painting: The Dutch Italianates at the Muscarelle Museum of Art
    The Muscarelle Museum of Art, in Williamsburg, Virginia, will be the initial site for the national tour of the major exhibition of Old Master paintings. The Dutch Italianates: Seventeenth-Century Masterpieces From Dulwich Picture Gallery Through March
    Read More >>
  • Anatomy of the Landscape: Trees
    Yesterday morning I had a wonderful conversation with Carolyn Anderson, the talented figure artist and workshop instructor from Montana who teaches at some of the top art schools around the country. I was interviewing her for an upcoming article we’re
    Read More >>
  • Oil Painting: Open Spaces
    Francis Di Fronzo stopped working with paint brushes to create his own technique of “tapping the landscape into existence.” All Paths to War Lead Back to You (Part I) 2002, oil on panel, 48 x 48. Private collection. by Lynne Moss Perricelli
    Read More >>
  • Oil Painting; Morandi: Painting and Appearance in the 20th Century
    John A. Parks examined the art of Giorgio Morandi in the December issue of American Artist . In one section, he asserted, "[His] paintings are a testimony to the act of something deeply contemplated. It is a kind of painting that has nothing to do
    Read More >>
  • En Plein Air: A Conversation With Curt Walters
    Welcome to “En Plein Air,” the new Plein Air blog on American Artist’s new online community! The former Plein Air section of www.myAmericanArtist.com lived off our main homepage for nearly a year, and during that time I enjoyed sharing
    Read More >>
  • Oil Painting: All The Water That Will Ever Be, Is, Right Now at the Irvine Museum
    The natural cycle of water and its place in the landscape is the focus of this exhibition at the Irvine Museum, in Irvine, California. All The Water That Will Ever Be, Is, Right Now Through January 17, 2009 The Irvine Museum Irvine, California (949) 476
    Read More >>
  • Acrylic: Fine Art or Illustration?
    Whether creating fine art or illustration, for Connecticut artist Bernie Fuchs—who boasts a long and successful career as an illustrator—it’s all the same. Either way, “I’m making a picture,” he explains. A Perfect
    Read More >>
  • New Work by Jason Bryant at Raandesk Gallery of Art
    A collection of recent artwork by Jason Bryant, including large-scale oil paintings and smaller, more intricate portraits, will be presented in this exhibition at the Raandesk Gallery, in New York City. Someday, Maybe, Never 2008, oil on canvas, 40 x
    Read More >>
  • See Your Art Objectively
    While packing to move into our new offices, I came across a self-portrait I painted several years ago that was lost in a stack of papers. I immediately recognized that the face was drawn inaccurately—an error I didn’t see at the time I created
    Read More >>
  • Oil Painting: David Malan: Storytelling With Figures
    This Utah artist is drawn to figures and faces, and he works hard to balance his work-related duties with his love of traditional oil painting. Kaitlyn, 2007, oil on board, 14 x 18. All artwork this article collection the artist unless otherwise indicated
    Read More >>
  • VIDEO: Phil Sandusky's "New Orleans Street With Construction Crew"
    In the November 2008 issue of American Artist, we presented a collection of dramatic post-Katrina scenes of New Orleans, painted by Rolland Golden. Here, we present a video featuring Phil Sandusky, another artist whose paintings focus on hurricane ravaged
    Read More >>
  • Oil Painting: John Falato's Oil Paintings
    In the November 2008 issue of American Artist, we discussed how John Falato enjoys introducing students to the nuts and bolts of watercolor painting. Here, we reproduce additional images of Falato's paintings. Autumn in Southford 2005, Casein on Masonite
    Read More >>
  • Watercolor: Back to Watercolor Basics
    Connecticut artist John Falato primarily paints in oil, but he also enjoys introducing students to the nuts and bolts of watercolor in his exciting, fast-paced beginner classes. August Road 1983, watercolor, 21 1/8 x 16. All artwork this article private
    Read More >>
  • Beginners: Back to Watercolor Basics
    Connecticut artist John Falato primarily paints in oil, but he also enjoys introducing students to the nuts and bolts of watercolor in his exciting, fast-paced beginner classes. August Road 1983, watercolor, 21 1⁄8 x 16. All artwork this article
    Read More >>
  • A Practical Approach to Creating & Marketing Oils and Pastels
    When J.C. Airoldi left a successful career as a designer, she applied the same level of determination, practicality, hard work, and marketing skills that she used in her previous profession to creating and selling paintings. Gloucester Solitude 2008,
    Read More >>
  • Art Business: Warm-Up Exercises for Artists
    Warm-up exercises are as important for artists as they are for musicians and athletes. by Daniel Grant Athletes stretch before a game. Prior to performing, opera singers sing scales, and actors practice their lines. Warm-up time is important in a variety
    Read More >>
  • Beginners: Watercolor Tips: Achieving Optimal Effects
    Painting with watercolor requires an understanding of not only the paints themselves but also how to apply them. Like what you read? Become a Watercolor subscriber today! by James Toogood Breakers on a Rocky Coast 2005, watercolor, 24 x 18. Private collection
    Read More >>
  • "American Artist" Magazine Cover Competition Winners
    Hundreds of artists from around the country sent in submissions for American Artist’s 2008 Cover Competition, and the editors narrowed the selection down to the 10 they thought best captured the skill level and style of our publication. When those
    Read More >>
  • Colleen Howe's 4 Steps to Building Stronger Paintings
    Utah artist Colleen Howe is an accomplished pastelist and workshop instructor who is widely known for her sensitive and colorful landscapes of the West. Here she shares four helpful steps to achieving successful works of art. by Colleen Howe, as told
    Read More >>
  • Janet Monafo Chat Transcript
    Read the transcript from yesterday's live online chat with pastel artist Janet Monafo. 2008-06-09 11:00:12.0 Administrator: You have joined a chat with Janet Monafo, a top pastelist who has been highlighted in American Artist magazine. Feel free to
    Read More >>
  • Max Ginsburg's Workshop: Seeing Forms, Not Formulas
    During a recent workshop, New York artist Max Ginsburg showed students how to respond to the specific lighting effects they observed rather than to use premixed colors and repetitive procedures. by M. Stephen Doherty Ginsburg made adjustments to the balance
    Read More >>
  • Casey Baugh's Workshop: Seeing Accurately and Solving Problems
    This dynamic young artist believes anyone can learn the language of painting and use it to express themselves, which he proves in both short-term and extended workshops. by M. Stephen Doherty Baugh working directly on a student's canvas “There
    Read More >>
  • "Drawing" Magazine Cover Competition Winners
    We chose 10 finalists for our Drawing Magazine Cover Competition—and then easily named William Rose the winner, as he best showcased the skill level and imagination of our readers. View the winners of the Watercolor magazine 2008 cover competiton
    Read More >>
  • Drawing Basics: Judith Carducci's Workshop and the Benefits of Drawing and Working From Life
    During a recent plein air workshop in Southern France, Judith Carducci helped students who worked with pen-and-ink, pastel, watercolor, and oil colors. The unifying themes of the 10-day class were that drawing basics are a foundation of all media and
    Read More >>
  • Judith Carducci's Workshop: The Benefits of Drawing and Working From Life
    During a recent plein air workshop in Southern France, Judith Carducci helped students who worked with pen-and-ink, pastel, watercolor, and oil colors. The unifying themes of the 10-day class were that drawing is a foundation of all media and working
    Read More >>
  • Tony Curanaj's Workshop: Knowledge and Structure Allow Freer Painting
    This New York City artist has found that the more he understands the science of the elements in his still life scene, and the more carefully he executes his drawing and underpainting, the freer he can interpret the subject matter in the final stages to
    Read More >>
  • Artist of the Month: Sarah Siltala: Capturing Utter Stillness
    This New Mexico artist slowly builds up transparent glazes of oil colors to create still lifes and landscapes with luminous, vibrant, and subtle textures. Evening Solitude, 2008, oil on board, 15 x 15. All artwork this article private collection. by Naomi
    Read More >>
  • Oil Painting: Scott Tallman Powers' Oil Paintings: Developing the Concept
    In the summer 2008 issue of Workshop, we discussed how Scott Tallman Powers was able to express strong emotions in oil paintings by first establishing a clear concept for the picture and then remaining focused on delivering that content to viewers. We
    Read More >>
  • Acrylic: Ellen Rolli: Painting Coach
    This Boston acrylic painter teaches art the way a life coach helps a client achieve life goals. by Bob Bahr Rolli advised students to keep their still life arrangement simple so the emphasis is on painting rather than drawing. Students come to Ellen Rolli
    Read More >>
  • Oil Painting: Daniel E. Greene: Gleaning Inspiration From Formative Experiences
    In the Fall 2007 issue of Workshop magazine, we presented Daniel E. Greene's approach to teaching drawing and painting in art-school classes, short-term workshops, and filmed programs. Here we reproduce the article from the November 2007 issue of
    Read More >>
  • Acrylic: Critique: "Catching the Red-Eye Flight"
    Pay careful attention to edges and incorporate foreground colors into the background to create a unified composition. by Joyce Washor Catching the Red-Eye Flight 2006, acrylic on Masonite, 16 x 20. This bird is painted very well. However, a few adjustments
    Read More >>
  • Oil Painting: Dan Young's Harmony and Depth in Landscapes
    In the Fall 2008 issue of Workshop magazine,we discussed how Dan Young helped both beginners and experienced painters develop their skills by showing them how to simplify forms, increase the sense of light, push background shapes into the distance, and
    Read More >>
  • Oil Painting: Richard Estes at New York City's Marlborough Gallery
    Renowned photorealist painter Richard Estes will be showing more than 20 new paintings during this exhibition at the Marlborough Gallery, in New York City. Richard Estes October 14 through November 15 Marlborough Gallery New York, New York (212) 541-4900
    Read More >>
  • Drawing Basics: Female Nude Figure Drawing
    David Jon Kassan comments on Robert C. Dacey's Andrea in Shadow. Andrea in Shadow by Robert C. Dacey, charcoal drawing on Bristol board, 20 x 30. by David Jon Kassan This piece is a great figure drawing study in light and dark contrasts. It has a
    Read More >>
  • Acrylic: Barbara Edwards: Acrylic Exploration
    Barbara Edwards experiments with media and techniques in her paintings that make use of both representation and abstraction. by Lynne Moss Perricelli Mountain Pasture 2007, acrylic, 27 x 22. All artwork this article collection the artist unless otherwise
    Read More >>
  • Pastel: Masters
    Artists looking to work with pastel can learn valuable techniques and tips by studying artists who first explored the medium and discovered the possibilities the medium offers. by Naomi Ekperigin Although the work of oil painters and draftsmen is well
    Read More >>
  • Oil Painting: The Knowlton Gallery Presents Yosemite on Canvas
    During the spring of 2008, 13 women painters from California, Nevada, and Utah gathered together in the Yosemite Valley to paint the national park for a week. Yosemite on Canvas: 13 Western Artists Paint the Park Through November 29 Knowlton Gallery Lodi
    Read More >>
  • Oil Painting: Frank Serrano's "Oak Study"
    In the summer 2008 issue of Workshop magazine, Frank Serrano discussed his approach as an artist and his methods as a teacher. Here we present his step-by-step demonstration Oak Study . Step 1 During his weekly landscape-painting workshop in Southern
    Read More >>
  • Watercolor: "Watercolor" 2008 Cover Competition Finalists
    Congratulations to the 10 finalists chosen in the 2008 Watercolor Cover Competition. These accomplished artists each take a different approach, revealing the versatility and adaptability of watermedia. Here, they describe their sources of inspiration
    Read More >>
  • Oil Painting: Step by Step: Alan Flattmann's "The Abita River"
    In the winter 2007 issue of Workshop magazine, Alan Flattmann showed two methods of painting the landscape. Here we present a step by step demonstration of his painting The Abita River. Step 1 Flattmann toned the canvas with a thin wash of burnt-umber
    Read More >>
  • Technique: Mosaic Art: The Tile Creations of Carl and Sandra Bryant
    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
    Read More >>
  • Artist of the Month: Benjamin McVey: Painting Objects Lost and Found
    This New York City artist paints landscapes, still lifes, and portraits that highlight the relationships between seemingly disparate objects. by Naomi Ekperigin This Situation 2006, oil, 20 x 16. All artwork this article collection the artist. Self-Portrait
    Read More >>
  • Pastel: Denise LaRue Mahlke: Art as a Calling
    Denise LaRue Mahlke believes that being an artist is a calling that involves preserving, celebrating, and sharing in God’s creation. That’s one of the reasons she challenges herself to strive for excellence as a pastel painter and a teacher
    Read More >>
  • Beginner Oil: How to prepare a canvas for an oil painting
    The method for preparing a canvas varies from artist to artist. This is primarily because there are several options to choose from in every phase of preparation. Here, we outline the choices available so that you can confidently begin to work in oil.
    Read More >>
  • Artist of the Month: Arturo Samaniego
    This Florida-based artist paints still lifes in oil that hint at a human presence. Trio on Marble Block 2007, oil, 36 x 48. All artwork this article collection the artist unless otherwise indicated. by Naomi Ekperigin For 15 years, Arturo Samaniego’s
    Read More >>
  • Artist of the Month: Karen Kaapcke
    This New York City artist’s creative process involves self-reflection, during which she asks herself not only what she is painting, but also why she’s compelled to do so. by Naomi Ekperigin Daniel I 2006, oil on linen, 22 x 18. Collection
    Read More >>
  • Oil Painting; Casey Baugh's "Red Scarf"
    In the fall 2008 issue of Workshop magazine, we showed how Casey Baugh used both short-term and extended workshops to teach the language of painting. Here we present his step-by-step demonstration Red Scarf . Reference The model who posed for the three
    Read More >>
  • Oil Painting: Ron Hicks' "Noelle With a Black Dress"
    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.
    Read More >>
  • Oil Painting: Mary Anna Goetz's Colorful Landscapes
    In the summer 2008 issue of Workshop magazine, we discussed how Mary Anna Goetz's workshops address the tendencies students have to lose sight of the center of interest and to mix colors that are garishly overstated or inaccurate value assessments
    Read More >>
  • Artist of the Month: Nick Clulow: Interior Acrylic Portraits
    This Maryland artist always paints from life, creating work that gives personality and history to inanimate objects. Apartment Fridge 2001, acrylic on panel, 5 x 7. All artwork this article private collection. by Naomi Ekperigin Nick Clulow paints household
    Read More >>
  • Oil Painting: Daniel E. Greene: Gleaning Inspiration From Formative Experiences
    In an exhibition opening this month in New York City, Daniel E. Greene presents still-life and figure paintings inspired by the experiences and objects of his childhood. Those paintings allowed him to explore the themes of challenge, contrast, and competition
    Read More >>
  • Jeffrey Reed: Introducing the Basics of Painting
    Students at the Community College of Philadelphia receive thorough instruction in the fundamentals of drawing and painting, especially those currently enrolled in Jeffrey Reed’s introductory course, Art 115—Painting I. by M. Stephen Doherty
    Read More >>
  • Art and the River at The James A. Michener Art Museum
    The James A. Michener Art Museum, in New Hope, Pennsylvania, will host this exhibition celebrating the influence of Bucks County Pennsylvania's waterways (the Delaware River and Delaware Canal) on regional landscape artists. Art and the River Through
    Read More >>
  • Susan Lyon's "Gold-Trimmed Shawl"
    Watch a demonstration of Susan Lyon's figure painting in Gold-Trimmed Shawl. Lyon is one of the artist featured in the summer 2008 issue of Workshop magazine (1:29). Susan Lyon Posted to Artist Daily by Karyn on October 08, 2009 Click to Play | View
    Read More >>
  • World Tour for Landscape Artists
    Two of the world's foremost international landscape painting groups—Landscape Artists International (LAI) and International Plein Air Painters (IPAP)—have come together to organize the international art exhibition "Far and Near Horizons
    Read More >>
  • Oil Painting: Susan Lichtman: The Powerful Use of Light in Oil Interiors
    This Massachusetts painter uses a closely controlled palette and open painting approach to create highly evocative visions of interiors and figures. by John A. Parks Family at Sundown 2005, oil on linen, 48 x 72. All artwork this article collection the
    Read More >>
  • Oil Painting: David Koch: Using Photoshop to Create Ageless Paintings
    Utah artist David Koch likes to bring elements of his state’s pioneer past into his computer-aided compositions. by Linda S. Price Crossing The Sweetwater 2002, oil on linen, 55 x 44. Collection Walt and Katie Gasser. Until David Koch won a competition
    Read More >>
  • Acrylic: CRITIQUE: "Silver Server With Cups"
    An appropriate background is essential for setting the scene in a still life composition. by Janet Walsh Silver Server With Cups 2002, acrylic, 12 x 24. The artist has done a nice job painting these still life items. However, the artist may want to consider
    Read More >>
  • Pastel: Critique: "The Old Man"
    Modulate contrast to keep the attention on the focal point. by Dawn Whitelaw The Old Man Pastel, 23 x 17. The artist has done an excellent job with this pastel portrait—the drawing and the use of color are quite effective. My only suggestion would
    Read More >>
  • Oil Painting: 3 Views of the Same Scene
    Three painting friends exchanged photographs and then produced paintings of the same 15 subjects in an experiment designed to teach them about different approaches, challenge them to push beyond their comfort zone, and allow them to work on a common painting
    Read More >>
  • Acrylic: CRITIQUE: "The Mother Wore Green (at the Wedding)"
    Consider value choices carefully when painting figures. by Dawn Whitelaw The Mother Wore Green (at the Wedding) 2007, acrylic, 12 x 16. The critic manipulated the image in Photoshop to demonstrate how to alter the values of the bodies. I like the energy
    Read More >>
  • Pastel: Sam Goodsell: Sticking With the Figure
    In 1994 New York City pastelist Sam Goodsell returned to the art world after nine years away, determined to fully explore the challenging and rewarding genre of figure painting. His dedication is paying off. To read more features like this, subscribe
    Read More >>
  • Jim Wilcox: The Right Shape and the Right Color
    his Wyoming artist has a simple message—“put the right color in the right place, and use interesting shapes”—that unfolds into much fuller, useful instruction in his workshops. by Bob Bahr Jim Wilcox advised a student during a
    Read More >>
  • Oil Painting: Step by Step: Johnnie Liliedahl's "Lady in White"
    In the fall 2007 issue of Watercolor , Johnnie Liliedahl discussed Old Master approaches that help her students understand the basics of oil painting. Here, we present a demonstration for her painting Lady in White. Reference: A photograph of a model
    Read More >>
  • Beginner Oil: Options for Oil Painters
    The vast array of materials and tools available to artists can make it difficult to determine which is best for rendering a certain subject. Even a traditional oil painter has a wealth of options and can choose from alkyds, water-soluble oils, and traditional
    Read More >>
  • Oil Painting: Max Ginsburg's Portraits and New York City Scenes
    In this online exclusive gallery, view more artwork by New York artist Max Ginsburg, one of the artists featured in the summer 2008 issue of Workshop magazine. Fabiana 2007, oil, 12 x 11¾. Collection the artist. Julie 2008, oil, 12 x 9. Collection
    Read More >>
  • Oil Painting: Work by Ralph Albert Blakelock at the National Academy Museum
    The goal of this exhibition at the National Academy Museum, in New York City, is to dispel the image of Ralph Albert Blakelock as a “mad genius,” by demonstrating the value of his work and its influence on modern and contemporary artists.
    Read More >>
  • Oil Painting: Barbara Kassel: Interiors and Exteriors
    In the July/August 2008 issue of American Artist, we discussed Barbara Kassel's autobiographical interior paintings. In this online exclusive gallery, we juxtapose her interior and exterior paintings. Jim’s Fish House 2006, oil on Masonite,
    Read More >>
  • Oil Painting: David Koch: Painting With Technology
    View more computer-aided paintings by David Koch, one of the artists featured in the September 2008 issue of American Artist. Breakfast Thoughts 2007, oil on linen, 20 x 16. Collection the artist. This Old Clock Tower 2003, oil on linen, 24 x 18. All
    Read More >>
  • Oil Painting: Kevin Sanders' Plein Air Landscapes
    In this online exclusive gallery, view more examples of plein air landscapes by Kevin Sanders, one of the artist featured in the September 2008 issue of American Artist. Ponte Vecchio 2006, oil, 18 x 24. All artwork this gallery private collection, unless
    Read More >>
  • Florence Griswold Museum Presents “Impressionist Giverny”
    The Florence Griswold Museum, in Old Lyme, Connecticut, is the opening venue for "Impressionist Giverny: American Painters in France, 1885-1915, Selections From the Terra Foundation for American Art," an exhibition of more than 50 oil paintings
    Read More >>
  • Drawing Basics: Arlene Steinberg on Colored Pencil
    Read the transcript from yesterday's live online chat and drawing tutorial with colored pencil artist Arlene Steinberg. Be sure to attend our next live chat with pastel artist Janet Monafo on Monday, June 9 at 2pm EST. 2008-05-12 11:00:03.0 Administrator
    Read More >>
  • Michael McNamara's Urban Plein Air Tips
    American Artist July/August featured artist Michael McNamara offers some tips on painting in a very congested city such as New York. Painting in the Urban Jungle by Karen Frankel SingleTitle Small http://link.brightcove.com/services/link/bcpid1256302615
    Read More >>
  • Technique: Sissi Siska: Transforming Silk Painting
    New Jersey artist Sissi Siska reinvents traditional silk-painting techniques to create multimedia works of art. by Stephanie Kaplan Orchids on Blue Ferns 2005, dyes, gutta, and wax on crepe de chine silk, 6’ x 3’. Collection the artist. Detail
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Light on the Ground
    Herrick adjusts the light mass on the ground below the children, and lightens the middle girl's face. I have been adding to the light mass on the ground below the kids. This may be overstated right now, but I can readjust this later. I also keyed
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Lightening the Key
    The artist realizes that he needs to lighten the boy's shirt and face. I need to lighten the boy's face and shirt, and that means everything needs to be keyed up higher in the same way. It is a frustrating but necessary adjustment. About the Artist
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Copying a Notable Portrait
    The Historical Society of the United States District Court has commissioned Herrick to paint a copy of an original Gilbert Stuart portrait for their collection. Another diversion—I'm in the process of copying an original Gilbert Stuart portrait
    Read More >>
  • Morgan Samuel Price's "Last of the Roses"
    Watch a landscape painting audio slideshow demonstration of Morgan Samuel Price's Last of the Roses (2:08). Price was one of the artists featured in the spring 2008 issue of Workshop magazine. Oil painting garden scene Posted to Artist Daily by Karyn
    Read More >>
  • "American Artist" 2007 Cover Competition
    The winner and semifinalists of our annual cover competition reveal how they created paintings that captured the attention of our judges. Frank J. Strazzulla Jr. Studio Interior 2003, oil, 18 x 14. Private collection “One of the compelling themes
    Read More >>
  • "Watercolor" Magazine 2007 Cover Competition Finalists
    The 10 Finalists in the Watercolor Cover Competition offer their insights on the creative process—from finding inspired subjects to selecting materials to applying the final details. Cymbidium Equinox by Kory Fluckiger, 2004, watercolor, 27 x 19
    Read More >>
  • Drawing Basics: Values Create Dramatic Drawings
    Careful use of darks and lights within and around the figure can give your drawings more power and dramatic force. by Dan Gheno Laocoön by Baccio Bandinelli, red and black chalk, 21 x 15¾. Collection the Uffizi Gallery, Florence, Italy. Some
    Read More >>
  • Pastel: William Schneider: Painting the Mouth
    Painting the expressiveness of a person’s mouth helps establish his or her likeness, personality, and vitality in a portrait, yet many artists have difficulty representing that facial feature. Here’s how I teach students to paint a mouth in
    Read More >>
  • Technique: George James: Innovations With Transparent Watercolor
    Known for his innovative method of using transparent watercolor on a nonabsorbent surface, this California artist employs an open-ended approach. Like what you read? Subscribe to Watercolor today! by Lynne Moss Perricelli Sunday Morning Nougat 2003, watercolor
    Read More >>
  • Artist of the Month: Christopher Copeland
    Midwestern artist Christopher Copeland paints the landscape that surrounds him, imbuing it with emotion and recording the transient moments that are often difficult to capture. by Naomi Ekperigin Midsummer Evening 2007, oil, 30 x 32. Private collection
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: A College President
    The artist takes a break from Of Scions and Sunlight to complete this portrait of a college president. I often have to interrupt one commission to finish another. Recently, I had to put aside Of Scions and Sunlight to complete this portrait of a college
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Working on Other Portraits
    Herrick takes a break from this portrait to work on other projects. The client has been great—they were more concerned with getting the best painting than getting the finished piece at a particular time. But because the painting was taking up a
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Further Work on Faces
    In this installment of the demonstration, the artist works on the details in the portrait. The little girl was close to where I wanted her to be, but the older girl seemed a little too dark. I needed to add a white glaze over her just to send it in the
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Background and Adjustments
    In the next installment of the demonstration, Herrick works on the background. I needed to address the background foliage to establish a context for the portraits. Things were looking a little dark in the background, so I removed some paint that was just
    Read More >>
  • Oil Painting: Christopher Evans' Golden Landscapes
    In the July/August 2008 issue of American Artist, we discussed how California-based artist Christopher Evans creates idyllic landscapes that communicate an extraordinary reverence for nature. We offer more of his paintings, with accompanying details,
    Read More >>
  • Lori Simon's "Bass Harbor Marsh"
    Watch a plein air watercolor demonstration by spring 2008 Watercolor featured artist Lori Woodward Simons Lori Woodward demo on plein air Posted to Artist Daily by Karyn on October 12, 2009 Click to Play | View Details
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: The Boy's Shorts and Face
    In the next installment of the demonstration, the artist tackles the boy's shorts and develops the highlights on the boy's face. I tackled the boy's shorts, organizing the color changes in reflections and shadows. Although the kids were wearing
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: The Older Girl
    In the fourth installment of the demonstration, Herrick concentrates on the older girl in the painting. She was a bit of a challenge because I was sorting out her likeness from multiple reference photos. I wasn’t sure of her expression—in
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Blocking In the Portraits
    In the third installment of the demonstration, Herrick continues blocking in the portraits and begins to place a few notes of color on the canvas. I was just trying to find my way with this painting—locating bigger shapes and anchoring positions
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: The Underdrawing
    In the second installment of the demonstration, Herrick tones his canvas and begins blocking in the heads of the children. I didn’t do a drawing—I did most of my thinking with the camera and Photoshop, and then I just jumped right into things
    Read More >>
  • Oil Painting: Herrick Master Portrait Demo
    Follow Garth Herrick's entire demonstration from start to finish. Meeting the Client This came through an agent, a local representative of Portrait Source [a portrait broker]. I think the client found me in the agent’s portfolio. The couple
    Read More >>
  • Oil Painting: Herrick Portrait Demo From Start to Finish
    Follow Garth Herrick's entire demonstration from start to finish. Meeting the Client This came through an agent, a local representative of Portrait Source [a portrait broker]. I think the client found me in the agent’s portfolio. The couple
    Read More >>
  • Oil Painting: Scott Prior: A Contemporary Approach to California Impressionism
    Urban landscape painter Scott Prior proves that a contemporary, “punk-rock” alternative to classical California subject matter can still produce moving and thought-provoking imagery. by James A. Metcalfe Island Life 2007, oil, 24 x 18. Courtesy
    Read More >>
  • Pastel: Patricia A. Hannaway: Drawing What the Model is Doing
    Californian Patricia A. Hannaway stresses that the best drawings of living things honor the action line and gesture, suggesting their movements in the recent past, present, and future. This dynamic, cinematic approach makes sense for someone who has made
    Read More >>
  • Acrylic: CRITIQUE: "Geraniums"
    Varying color and subduing the background helps create an effective floral composition. by Janet Walsh Geraniums 2005, acrylic, 8 x 10. The artist has certainly made good color choices in the bouquet, and has created the feeling of sunlight throughout
    Read More >>
  • Acrylic: CRITIQUE: "Bleu"
    Use negative space on both sides of the canvas to create a unified composition. by Elizabeth Pruitt Bleu 2007, acrylic, 36 x 24. The artist has created interesting negative shapes on the left side of the painting where the flowers go off the canvas. The
    Read More >>
  • Acrylic: CRITIQUE: "The Moroccan Vase"
    Indicating a light source is essential to painting 3D objects. by Elizabeth Pruitt The Moroccan Vase 2006, acrylic, 19 x 12. This piece is reminiscent of Picasso's work. The eye travels nicely down the curving line of the vase in the foreground. However
    Read More >>
  • Oil Painting: Step by Step: "Reflections in Gold"
    In the fall 2007 issue of Workshop , Gayle Levée discussed how the underlying structure of a painting gives the finished work its strength. Here we present a demonstration for her painting Reflections in Gold . To read the feature article on Levée
    Read More >>
  • Oil Painting: Garth Herrick Portrait Demo: Meeting the Client and Reference Photos
    Over the next few months, we will keep you abreast of the progress made on a large portrait commission taken on by Garth Herrick, a Philadelphia-based artist featured in the June 2008 issue of American Artist. In this first installment, the artist discusses
    Read More >>
  • BACAA: Classical Training From Contemporary Masters
    The Bay Area Classical Artist Atelier, just outside of San Francisco, began with one woman’s dream to establish a school steeped in the traditions of the European ateliers of the past. Today the atelier is one of the most regarded classical contemporary
    Read More >>
  • Oil Painting: Gustave Courbet: The First Realist
    Heralded as a rebel of the Romantic movement, Gustave Courbet is today considered one of the first to propel Realism into the modern world. by John A. Parks The Desperate Man 1844–1845, oil, 17¾ x 21?. Private collection. Born in 1819, Gustave
    Read More >>
  • Oil Painting: Step by Step: Joseph Gyurcsak's "Subtle Grays"
    In the December 2007 issue of American Artist, Joseph Gyurcsak used the work of Giorgio Morandi and Paul Cézanne to help illustrate lessons on developing paintings. Here, we present a step by step demonstration of his painting Subtle Grays . The
    Read More >>
  • Beginner Oil: Setting up for Plein Air painting
    The joy and excitement of plein air painting is worth the extra effort required to paint comfortably outside. Here, we address common problems and experiences artists face when first working outdoors. by Naomi Ekperigin Since the 19 th century, artists
    Read More >>
  • Oil Painting: Tree's Place Gallery Exhibition: Six Premier Landscape Artists
    Six top artists combined observation, investigation, and invention to respond to the encompassing reality of the landscape. They will be exhibiting their sketches and studio paintings together for the first time this summer. by M. Stephen Doherty The
    Read More >>
  • Oil Painting: Scott Prior's Landscapes
    In the June 2008 issue of American Artist, we explored how urban landscape painter Scott Prior proves that a contemporary, "punk-rock" alternative to classical California subject matter can still produce moving and thought-provoking imagery
    Read More >>
  • Oil Painting: Gustave Courbet's Realist Paintings
    In the June 2008 issue of American Artist , we explored how Gustave Courbet is considered one of the first to propel Realism into the modern world. We offer more examples of his realist approach in this online exclusive gallery. The Preparation of the
    Read More >>
  • Jim Wilcox: More Student Critiques
    We present online exclusive student critiques by Jim Wilcox, one of the featured artists in the spring 2008 issue of Workshop magazine. To read more critiques of student work, subscribe to Workshop today! by Bob Bahr Wilcox liked this artist's color
    Read More >>
  • Oil Painting: Nancy Switzer's Emphasis on Surface and Color
    In the May 2008 issue of American Artist, we discussed how Nancy Switzer pushes the possibilities of surface and color to create rich and spectacular paintings. Here, we offer more of her oil paintings in this online exclusive gallery. Blue Scad Melt
    Read More >>
  • Oil Painting: Peter Fiore: Freely Interpreting Nature
    Because most of his Pennsylvania landscapes begin with his photographs, Peter Fiore considers his paintings reorchestrations of reality. “A painting is what I envision,” he says, “not necessarily what nature gave me.” by Linda
    Read More >>
  • Oil Painting: Jimmy Sanders: The Structure Needed in Painting and in Life
    For almost 20 years, Jimmy Sanders has set specific goals for his art education, the types of paintings he creates, and the projects he undertakes. “Goals are dreams with deadlines,” he says. “They are important to realist painters who
    Read More >>
  • Oil Painting: Peter Fiore's Oil Landscapes
    In this online exclusive gallery, view more oil landscapes by May 2008 American Artist featured artist Peter Fiore. February Meadow 2007, oil on linen, 18 x 24. Courtesy Travis Gallery, New Hope, Pennsylvania. Fiore believes beautiful skies can make even
    Read More >>
  • Watercolor: Jane Paul Angelhart: A Practical and Creative Approach to Commissioned Portraits
    Having completed more than 400 watercolor portraits of children, Jane Paul Angelhart knows how to avoid potential problems with muddy paints, uncharacteristic poses, nervous children, and overbearing mothers. Like what you read? Become a Watercolor subscriber
    Read More >>
  • Artist of the Month: Don Gray
    California-based artist Don Gray paints large-scale murals and applies his traditional training to the depiction of historical events. He brings to this work a sense of spontaneity and freedom that is fueled by the creation of a new small painting every
    Read More >>
  • Watercolor: Charles Reid: Natural and Authentic Watercolors
    Renowned for his watercolor paintings of the figure, this artist reminds others to simplify, merge the subject with the background, and respond in a way that is natural and authentic. To read more features like this, subscribe to Watercolor today! Watercolor
    Read More >>
  • Oil Painting: Steve Armes: Creating Imaginative Studio Paintings
    For me, the goal of landscape painting is to paint stirring images that engage and inspire viewers, and this is more likely to happen when I use information from a variety of sources. by Steve Armes Sketch for Sierra Blanca 2005, oil, 8 x 10. All artwork
    Read More >>
  • Beginner Oil: Recommended Books for a Beginning Artists
    From the thousands of art-instruction books available, we offer a list of those that have proven beneficial to new artists. by Naomi Ekperigin There are many options available for artists wishing to improve their skills. However, the price and time commitment
    Read More >>
  • Art Business: Artist's Web Blogs
    Many artists regularly visit the websites of museums, galleries, art magazines, and art-material manufacturers to get information and instruction on their craft, but not everyone is aware of the increasingly popular blogs. by Daniel Grant Many artists
    Read More >>
  • Watercolor: 20 Great Watercolor Teachers: Biographies and Artwork
    We present biographies and artwork from our 20 esteemed watercolor teachers. by Beth Patterson Mary Alice Braukman The Power of Letting Go by Mary Alice Braukman, 2005, mixed media and collage, 22 x 30. Collection the artist. Mary Alice Braukman is an
    Read More >>
  • Beginners: An Introduction to Color Theory
    In the early 20th century, Johannes Itten’s theories on color changed the way artists and scientists viewed the spectrum of colors in the world around them. Here, we outline some of Itten’s basic tenets—many of which are still employed
    Read More >>
  • Artist of the Month: Allen Webb
    This Bahamas-based artist seeks to capture the natural landscape right outside his front door. Evening Exuma 2000, oil on canvas, 24 x 30. Collection the artist. Artist Allen Webb has two loves: tennis and painting. As a professional tennis player and
    Read More >>
  • Pastel: 70th Anniversary Competition Winners
    We present the semifinalists in the pastel category. by Karen Stanger Johnston Changing Channels by Mike Barret Kolasinski, 2007, pastel on archival foam board, 12 x 24. First Place: Mike Barret Kolasinski Chicago artist Mike Barret Kolasinski is passionate
    Read More >>
  • Pastel: CRITIQUE: "Maddy No. 1"
    Pay careful attention to color temperature. by Elizabeth Pruitt Maddy No. 1 2006, pastel on acid-free foam board, 24 x 20. The artist has achieved an intimate feeling in this paintingâ??itâ??s as if the viewer is drawn into the horseâ
    Read More >>
  • Beginner Oil: Determining the focal point of a painting
    Deciding where to place the elements in a painting can be difficult, but the decisions are crucial to creating a successful piece. by Naomi Ekperigin Deciding where to place the elements in a painting can be difficult, but the decisions are crucial to
    Read More >>
  • Oil Painting: Christine Lafuente's Oils: Exploration of Color and Form
    In the April 2008 issue of American Artist, we discussed how Christine Lafuente's still lifes and plein air landscapes are oriented toward achieving a color harmony that captures the play of light across the forms. In this online exclusive gallery
    Read More >>
  • Art in Colorado
    Read more information about the arts in Colorado in conjunction with the spring 2008 Workshop magazine feature on Ron Hicks' Denver workshop. by Allison Malafronte Jeanne Mackenzie conducted a plein air landscape workshop through Cottonwood Artists’
    Read More >>
  • Oil Painting: Michael Albrechtsen: Spend More Time Looking
    Michael Albrechtsen achieves a stronger impression of both the emotional and physical aspects of a landscape by standing back from his easel and thinking carefully about what he sees. by M. Stephen Doherty Cool and Wet 2007, oil, 40 x 30. Collection the
    Read More >>
  • Oil Painting: Abigail McBride's Still Lifes, Landscapes, and Figures
    In the April 2008 issue of American Artist, we discussed how Maryland artist Abigail McBride is still acquiring skills to help her successfully build paintings more than 20 years after she started studying art seriously. We present more of McBride's
    Read More >>
  • Watercolor: Peter Hussey: The Impact of Geometric Shapes in Watercolor Paintings
    When Rhode Island artist Peter Hussey taught himself to paint, he noticed that great artists often used diagonal and curved shapes to bring viewers into and around their pictures. That lesson, along with many others he learned by studying both historic
    Read More >>
  • Oil Painting: Daniel Graves: Steward of Humanist Art
    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
    Read More >>
  • Hudson River School for Landscape: Reviving an American Tradition
    This past summer, 30 outstanding young artists were invited to spend three weeks studying the landscape in upstate New York, where they applied their figure-drawing skills to rendering nature. The intention of the four instructors was to revive the approach
    Read More >>
  • Acrylic: CRITIQUE: "Looking South—Hollywood Beach, Florida"
    Break up strong lines when possible to add interest. by Elizabeth Pruitt Looking South— Hollywood Beach, Florida Acrylic, 36 x 24. This painting has a nice composition. However, the diagonal line that runs from the lower, left corner should be irregular
    Read More >>
  • Oil Painting: Kim Casebeer's Oil Landscapes
    View more of examples of how March 2008 American Artist featured artist Kim Casebeer develops her oil paintings in this online exclusive gallery. Autumn Evening at Buffalo Mound 2007, oil, 36 x 48. Private collection. Evening Along Buffalo Fork 2007,
    Read More >>
  • Oil Painting: Cecilia Beaux's Legacy
    An exhibition at the Pennsylvania Academy of the Fine Arts, in Philadelphia, aims to present Cecilia Beaux for the great painter she was: one of the most accomplished among men and woman alike. by Lynne Moss Perricelli Self-Portrait 1894, oil, 25 x 20
    Read More >>
  • Watercolor: Susan Van Campen: Capturing a Flower's Likeness
    Likening her process for painting flowers to that of her portraits, Maine artist Susan Van Campen puts patience, skill, and heart into interpreting the life of a flower. by Allison Malafronte Bouquet, June 2006, watercolor, 42 x 29½. All artwork
    Read More >>
  • Drawing Basics: Ingres' Miraculous Lines
    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
    Read More >>
  • Oil Painting: Patrick Gordon: Welcoming Midcareer Challenges
    After a successful 20-year career as a watercolorist in Tulsa, Patrick Gordon moved to New York to create large, multipanel oil paintings of flowers. “I’ve never worked harder or had more fun than I have in the past few years,” he explains
    Read More >>
  • Artist of the Month: Lonnie Shan
    Texas cattle rancher Lonnie Shan depicts the animals he admires in stunning watercolors, taking great care to capture their personality and soul. by Naomi Ekperigin Hard is the Journey 1991, watercolor, 14 x 10. Collection the artist. Viewing one of Lonnie
    Read More >>
  • Oil Painting: Cecilia Beaux's Portraits
    In this online exclusive gallery, view more paintings from the Cecilia Beaux traveling exhibition, which is on view at its final venue at the Pennsylvania Academy of the Fine Arts , in Philadelphia, February 2 through April 13. New England Woman 1895
    Read More >>
  • Technique: Watercolor Pencils: Bridging the Gap Between Painting and Drawing
    Water-soluble colored pencils offer the perfect solution for artists who want to create watercolor effects without the hassle of watercolor paints. by Stephanie Kaplan Plumeria 2006, watercolor pencil, 8 x 10. Watercolorist Kristy Ann Kutch owned a set
    Read More >>
  • Oil Painting: Thomas Cordell's Cityscapes
    In the February 2008 issue of American Artist, we discussed how although Thomas Cordell's subject matter often reflects his architectural training, he doesn't construct his paintings as he would his buildings. We offer more of his cityscapes in
    Read More >>
  • Oil Painting: Plein Air Painters of Chicago: More Finished Work
    In the February 2008 issue of American Artist, the Plein Air Painters of Chicago revealed both the pitfalls and pleasures that landscape painters often encounter when painting in an urban setting. In this online exclusive gallery, we showcase several
    Read More >>
  • Pastel: Albert Handell's Pastel Paintings: A Retrospective Exhibition
    Albert Handell, one of the most important artists working in pastel today, is currently the subject of a retrospective exhibition at The Butler Institute of American Art. Here, he describes some of the seminal paintings in the show and his continuing
    Read More >>
  • Beyond Drawing Basics: Evidence & Interpretation in Master Landscape Drawings
    Many great landscape drawings were created as preparatory studies, educational exercises, or informational journals and not as finished works of art. We can now study those freely made graphic images for evidence of the drawing essentials , ideas, and
    Read More >>
  • Oil Painting: Steve Armes' Landscapes
    In the February 2008 issue of American Artist, Steve Armes discussed how his goal for landscape painting was to paint stirring images that engage and inspire viewers. In this online exclusive gallery, we present more of his oil landscapes. Above Lake
    Read More >>
  • Oil Painting: SPONSORED CONTENT: Artist Behind the Brand: Scott Gellatly
    Oregon artist Scott Gellatly knows that a broad knowledge of materials and techniques can help painters realize their visions. That’s why he now travels around the country on behalf of Gamblin Artist’s Colors teaching painters how to give
    Read More >>
  • Watercolor: Kathleen Kolb: Versatility in Vermont
    by Linda S. Price Anderson Homestead 2002, watercolor, 18½ x 22½. Private collection. Kolb looked for diagonals to create drama in this composition. Vermont artist Kathleen Kolb is not a fussy painter. She doesn’t need sunny skies
    Read More >>
  • Pastel: Ann Sanders: The Practical Pastelist
    Santa Barbara artist Ann Sanders finds natural beauty in her surroundings and puts it down in pastel using proven methods—and she stresses that you can too. by Bob Bahr Devereux Afternoon 2006, pastel, 11 x 15. Collection Shirley Dettmann. The scenes
    Read More >>
  • Oil Painting: Frederic Edwin Church: A Great Landscape Painting Teacher
    There are few American painters who were as celebrated, successful, or influential as Frederic Edwin Church. by M. Stephen Doherty Twilight, a Sketch by Frederic Edwin Church, 1858, oil, 8¼ x 12¼. Collection Olana State Historic Site, Hudson
    Read More >>
  • Oil Painting: Using Subtle Grays in Still Life Painting
    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
    Read More >>
  • Oil Painting: Debra Teare: Updating Trompe l'Oeil For Today
    Oil painter Debra Teare mixes the best of conventional trompe l’oeil techniques with her own modern sensibilities to make her illusionistic pieces. by James A. Metcalfe Everything Nice 2007, oil, 13 x 10. Collection Christine E. Lynn. For more than
    Read More >>
  • Art Business: Investing in Artists
    Most artists are familiar with the axiom that states there is art created for commerce’s sake and art created for art’s sake, but few are able to find a happy medium between the two. by Daniel Grant Most artists are familiar with the axiom
    Read More >>
  • Oil Painting: Ellen Buselli: Observing Carefully, Thinking Abstractly, and Painting Traditionally
    For New York City artist Ellen Buselli, painting is centered on translating what she sees to canvas, which is why she finds observing and understanding the nature of color and light so important. by Linda S. Price Classical Light 2007, oil on linen, 20
    Read More >>
  • Oil Painting: GALLERY: Ellen Buselli's Still Lifes
    In the January 2008 issue of American Artist, New York City artist Ellen Buselli explains why she finds observing and understanding the nature of light and color so important. Her attention to light and color is also evident in the still lifes presented
    Read More >>
  • Oil Painting: Ismael Checo: Color, Richness, and Light
    This Dominican-born artist uses rich color to create an exotic and intense experience of the world. by John A. Parks Standing Nude Study 1988, oil, 20 x 16. All artwork this article collection the artist unless otherwise indicated. Although he has long
    Read More >>
  • Acrylic: CRITIQUE: "Reflecting at Sunset"
    Painting light accurately can be a challenge in landscape painting. by Shawn Gould Reflecting at Sunset 2006, acrylic, 24 x 24. This is a beautiful painting with nice light, however the sun's highlight is a little too bright. Since the light falls
    Read More >>
  • Watercolor: 70th Anniversary Competition Winners
    We present the semifinalists in the watercolor category. by Karen Stanger Johnston After the Harvest by Gail M. Wheaton, 2003, watercolor, 30 x 22. Collection Evan and Patricia Harter. First Place: Gail M. Wheaton Arizona artist Gail M. Wheaton completed
    Read More >>
  • Acrylic: CRITIQUE: "California Seascape"
    Pay attention to lights and darks when painting landscapes. by Shawn Gould California Seascape acrylic, 22 x 28. The artist has done a nice job with the composition—the viewer’s eye follows the land out to sea and is brought back into the
    Read More >>
  • Acrylic: CRITIQUE: "Blue Violets of Provence"
    Careful consideration of color value and saturation are important in a unified composition. by Shawn Gould Blue Violets of Provence 2006, acrylic, 20 x 20. The artist has done an excellent job bringing the viewer into the painting with the use of rich
    Read More >>
  • California Art Club Announces Award Winners
    The California Art Club recently held its 96th Annual Gold Medal Juried Exhibition at the Pasadena Museum of California Art, in Pasadena, California. California Art Club Announces Award Winners The California Art Club recently held its 96th Annual Gold
    Read More >>
  • Laguna College of Art & Design Exhibition Winners Announced
    Laguna College of Art & Design, in Laguna Beach, California, recently announced the winners of its Student Juried Exhibition. Laguna College of Art & Design Exhibition Winners Announced Laguna College of Art & Design , in Laguna Beach, California
    Read More >>
  • Drawing Basics: Colored Pencil 70th Anniversary Competition Winners
    We present the semifinalists in the colored pencil category. by Karen Stanger Johnston Ya Reckin by Rosemarie Rush, 2006, colored pencil, 16 x 20. First Place: Rosemarie Rush Like most of the images of Western life by California artist Rosemarie Rush
    Read More >>
  • Oil Painting: Doug Higgins: Attracting the Viewer's Eye
    Santa Fe artist Doug Higgins has many strategies for directing the viewer’s eye toward the center of interest and leading it around the painting. by Linda S. Price Painting at Smith Cove 2004, oil, 20 x 24. All artwork this article collection the
    Read More >>
  • Oil Painting: Oil 70th Anniversary Competition Winners
    We present the semifinalists in the oil category. by Karen Stanger Johnston Hyacinth (and the McCoy Pot) by Ellen Buselli, 2006, oil on linen, 12 x 16. Private collection. First Place: Ellen Buselli Ellen Buselli’s favorite subject is the still
    Read More >>
  • Masters: "The Erotic Frigidaire": The Academies of Pierre-Paul Prud'hon
    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
    Read More >>
  • Masters: John Ruskin and His Influence on American Art
    During the second half of the 19th century a single writer held enormous sway over the hearts and minds of American artists, critics, and their public. by John A. Parks Devonport and Dockyard, Devonshire by Joseph Mallord William Turner, 1825–1829
    Read More >>
  • Masters: Ingres’ Materials
    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
    Read More >>
  • Watercolor: Carl Dalio: Cruising the River of Living Color
    Childhood memories can have a lasting impact on the artistic imagination and even the creative process. by Carl Dalio Along the Oregon Coast 2007, watercolor, 14½ x 21½. This high view of the Oregon coastline presents a story of endurance
    Read More >>
  • Pastel: CRITIQUE: "Kate Menendez"
    It is important to consider the background color in a portrait. by Dawn Whitelaw Kate Menendez 2006, pastel, 21 x 19. The critic created an adjusted version of the painting in Photoshop to supplement her critique. This artist asked for help with the background
    Read More >>
  • Pastel: Suzanne LaPrade: Getting Down the Bones
    Former woodcarver Suzanne LaPrade is very much interested in the underlying structures that make up her pastel and oil subjects. by Karen Frankel The Heiress 2006, oil, 48 x 30. Collection Mr. and Mrs. P.T. Farrel. The woods behind Suzanne LaPrade’s
    Read More >>
  • Pastel: Robert Hoffman: About Brown County, Indiana
    In the spring 2007 issue of Workshop , we discussed how oil and pastel artist Robert Hoffman encouraged students to relax, explore, and experiment in his five-day introduction to plein air painting. Here, we offer an excerpt from the article about how
    Read More >>
  • Acrylic: CRITIQUE: Working in Mixed Media
    Finding the right balance of materials can be challenging in mixed-media artwork. by Dawn Whitelaw Red Circle of Life 2006, oil, acrylic, and hammered copper on wood panel, 36 x 84. Orange Dragonfly 2006, oil, acrylic, and hammered copper on wood panel
    Read More >>
  • Drawing Basics: Understanding the Anatomy of the Ear
    A look at the anatomical structure of the ear, and some helpful tips on how to draw people . by Ephraim Rubenstein Maddie 2005, pastel on sanded board, 19 x 15. In this portrait of my daughter, Madeleine, her ear is lit very dramatically from behind.
    Read More >>
  • Beyond Drawing Basics: Ashcan Drawings
    The artists of the Ashcan School, known for their raw depictions of urban life, shared a background in newspaper and magazine illustration that shaped their drawing and painting styles. by Edith Zimmerman Far From the Fresh Air Farm by William Glackens
    Read More >>
  • Oil Painting: GALLERY: Oils by Susan Goetz & Robert Schneider
    In the November 2007 issue of American Artist, we discussed how Susan Goetz and Robert Schneider, who are husband and wife, studied with some of the same instructors and developed techniques based on similar historical precedents; yet they focus on different
    Read More >>
  • Oil Painting: GALLERY: Richard Baumann's Landscapes and Interior Scenes
    In the November 2007 issue of American Artist, we discussed how Richard Baumann relies on two complementary colors to develop his landscapes and interior scenes, applying mixtures of them around the canvas so he can orchestrate the relationship between
    Read More >>
  • Oil Painting: SPONSORED CONTENT: Artist Behind the Brand: Robert Gamblin of Gamblin Artist’s Colors
    Robert Gamblin developed his art career and paint manufacturing business by learning how quality paints are made and how they can be used safely and effectively in the studio. by M. Stephen Doherty Evening Makena 2007, oil, 24 x 18. Collection the artist
    Read More >>
  • Oil Painting: Art That Heals: J. Peralta
    California artist J. Peralta did not choose her subject matter, it chose her. After stumbling upon and deciding to paint a scene of field workers near her home, the artist not only found inspiration for her artwork but also discovered a new respect for
    Read More >>
  • Oil Painting: Carolyn Egeli's Impressionistic Approach
    This Maryland oil painter, renowned for her portraits, seeks the essence of her subjects and settles for nothing less. by Janice F. Booth Evening Pasture oil on linen, 24 x 30. Collection the artist. When we remember a friend’s face, we don’t
    Read More >>
  • Oil Painting: Plein-Air Painters of America Members: From the Site to the Studio
    A current exhibition in Stockton, California, shows how members of the Plein-Air Painters of America (PAPA) interpret their on-site studies to make larger studio paintings. We asked eight of the exhibiting painters to share their approaches with American
    Read More >>
  • Oil Painting: GALLERY: More Paintings from PAPA Members
    In the October 2007 issue of American Artist, we profile eight of the Plein-Air Painters of American (PAPA) members who will be part of the group's 21st annual exhibition and sale, titled "From the Heart: Plein-Air Painters of American"
    Read More >>
  • Oil Painting: GALLERY: Carolyn Egeli's Landscapes and Still Lifes
    In the October 2007 issue of American Artist, we explored how Maryland oil painter Carolyn Egeli, renowned for her portraits, seeks the essence of her subjects and settles for nothing less. In this online exclusive gallery, we present more of her landscape
    Read More >>
  • Oil Painting: On Location in Malibu: Paintings by CAC Members
    Nearly 60 views of Malibu created by members of the California Art Club are featured in this exhibition, which explores not only the city’s picturesque scenery but also the enduring California plein air landscape tradition. by Michael Zakian Driving
    Read More >>
  • Oil Painting: GALLERY: Roger Dale Brown's Oils
    I n the October 2007 issue of American Artist, we discussed how beginning his career as a fine artist relatively late in life affected Roger Dale Brown's career goals and painting strategies. Classics 2006, oil, 30 x 40. Collection Mr. and Mrs. Greg
    Read More >>
  • Oil Painting: GALLERY: Dawn Whitelaw's Portraits
    View a gallery of portraits by acclaimed portrait painter Dawn Whitelaw, who will lead an online chat on May 30 at 3 p.m. EST about how to identify and fix problems in your paintings. Carol oil, 24 x 18. All artwork this gallery private collection. Colton
    Read More >>
  • Acrylic: CRITIQUE: "Moonlit Forest"
    Be sure to locate the light source in the composition before you begin painting. by Elizabeth Pruitt Moonlit Forest 2006, acrylic, 24 x 30. This artist demonstrates some good, basic painting skills; however, the artist might want to consider the following
    Read More >>
  • Oil Painting: Heavy Paint, Big Brushes, and No Cleanup: The Paintings of Ken Auster
    This California artist pursues an aggressive, take-no-prisoners approach to plein air painting. by John A. Parks Dos Roses 2006, oil, 12 x 9. Courtesy Red Piano Art Gallery, Hilton Head Island, South Carolina. Ken Auster uses loads of thick paint and
    Read More >>
  • Oil Painting: GALLERY: Elizabeth Pruitt's Portraits
    In the December 2006 issue of American Artist, Kansas artist Elizabeth Pruitt was most concerned with expressing the emotions a subject evokes in a still-life painting. In contrast, we present 12 of her portraits in this online exclusive gallery. Michelle
    Read More >>
  • Oil Painting: Matthew Mitchell: Applying Rembrandt's Portrait Techniques
    Oil painter Matthew Mitchell adapts Rembrandt’s working method for his portraits spotlighting Americans serving in civilian or military roles in Iraq and Afghanistan. by Karen Frankel Alexander Scott Arredondo 2005, oil on linen, 30 x 26. All artwork
    Read More >>
  • Oil Painting: Meredith Brooks Abbott: Seeing Nature With Fresh Eyes
    Veteran California oil painter Meredith Brooks Abbott explains how she has maintained a devotion to the routine of painting every day, with continually improving results. by Molly Siple Bird Refuge 2006, oil on linen, 11 x 11. All artwork this article
    Read More >>
  • Oil Painting: GALLERY: Meredith Brooks Abbott's Oils
    We present more examples of Meredith Brooks Abbott's oil paintings in this online exclusive gallery. Strawberries 2006, oil on linen, 16 x 20. All artwork this gallery private collection unless otherwise indicated. Wild Flowers for the Wedding 2006
    Read More >>
  • Oil Painting: GALLERY: Kathleen Kolb's Oil Landscapes
    In the September 2007 issue of American Artist, we discussed how Kathleen Kolb worked in oil and watercolor to create country landscapes. To supplement the watercolors highlighted in the print feature, we show Kolb's oil landscapes in this online
    Read More >>
  • Oil Painting: Sarah Lamb: Painting the World as a Feast
    Traditionally trained artist Sarah Lamb uses her passion for the kitchen to bring a new vitality to the art of the still life. Mousse au Chocolat 2005, oil on linen, 20 x 32. All artwork this article private collection unless otherwise indicated. by John
    Read More >>
  • Oil Painting: GALLERY: Pat Kelly's Still Lifes
    In the September 2007 issue of American Artist, we explored how after years of enjoying the immediacy and energy of painting landscapes outdoors, Californian Pat Kelly brought the same materials and techniques into the studio to paint still lifes. Here
    Read More >>
  • Oil Painting: Art That Heals: Camille Engel
    Sometimes painful experiences can cause people to lose interest in activities that once brought them incredible fulfillment. That’s not the case with Nashville artist Camille Engel. Her trials have actually driven her back to her original passion
    Read More >>
  • Oil Painting: Emphraim Rubenstein: The Art of the Portrait/Still Life
    Read an excerpt from the July/August American Artist feature on still-life artist Emphraim Rubenstein. by William Chapman Sharpe Self-portrait With Vanitas Symbols by David Bailly, 1651, oil, 25½ x 38?. Collection Stedelijk Museum de Lakenhal,
    Read More >>
  • Pastel: Wende Caporale: The Similarities in Painting Portraits in Oil or Pastel
    One of the top artists specializing in children’s portraits recently offered workshops for both oil and pastel painters. Although some of Wende Caporale’s specific instructions related to one medium or the other, her general discussions about
    Read More >>
  • Oil Painting: Leonid Gervits’ Process
    In the July/August issue of American Artist, we explored how portrait artist Leonid Gervits takes a stand for the legitimacy of the fine draftsmanship and multilayered technique 400 years after Velázquez. Here, we offer an excerpt from the feature
    Read More >>
  • Oil Painting: Philip R. Jackson: Setting the Stage
    We present an excerpt from the July/August American Artist feature on Philip R. Jackson that discusses how Jackson achieves his dramatic still-life setups. To read more features like this, check out the July/August 2007 issue of American Artist. by James
    Read More >>
  • EXHIBITION: American Impressionism: Paintings From The Phillips Collection
    Celebrated for its extraordinary collection of European art, The Phillips Collection is also home to some of the most distinguished examples of American painting. American Impressionism: Paintings From The Phillips Collection Through September 16 The
    Read More >>
  • Artist of the Month: Paul Lowe
    Although Paul Lowe, our Artist of the Month, finds inspiration in nature, he almost always paints his landscapes from inside the studio. by Edith Zimmerman Palm Oasis 24 x 18. Courtesy Galerie Gabrie, Pasadena, California. Although Paul Lowe, our Artist
    Read More >>
  • Dan Thompson's June 13th Chat Transcript
    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
    Read More >>
  • Beginners: Watercolor Materials, the Basics
    Watercolor Watercolor pigment is sold in cakes, tubes, and pencils. The binding agent for the pigment is usually gum arabic. Many artists prefer watercolor colors in tubes because they allow more-fluid application and increased control over color intensity
    Read More >>
  • Oil Painting: Sneak Preview of Dan Thompson’s Figure-Painting Demonstration
    View a demonstration of artist-instructor Dan Thompson's figure-painting techniques. Be sure to check back in the coming weeks for a more detailed video demonstration of Thompson's work. Step 1: Thompson set up the model in a sitting position
    Read More >>
  • Oil Painting: Art That Heals: Bonnie Ramsbottom
    The artistic journey of Bonnie Ramsbottom is one of both tragedy and triumph: she came to art late in life literally by accident when she began painting as a means to recover from the removal of a brain tumor, the surgery of which she was not expected
    Read More >>
  • Oil Painting: Still-Life Portraits: The Book-Filled Art of Ephraim Rubenstein
    This oil painter finds that his ongoing series of paintings depicting books allows him to venture into a number of themes—including self-portraiture. View an online exclusive gallery of Rubenstein's work. by William Chapman Sharpe The Great
    Read More >>
  • Ned Mueller: Painting Spots of Color
    Teaching students about color is essentially teaching them how to see—and then explaining how to paint beyond the literal. According to students, Montana painter Ned Mueller succeeds in doing this in his plein air workshops. by Bob Bahr Ned Mueller
    Read More >>
  • Beginner Oil: Oil Painting Materials: The Basics
    Oil Painting Pigments and mediums Oil paint is pigment suspended in oil, usually linseed oil. Painters thin oil paints by adding either more oil or a solvent, such as turpentine--or a mixture of both. In addition to linseed, artists use walnut, poppy
    Read More >>
  • The Painting Center Hosts Two Watercolor Exhibitions
    The Painting Center, in New York City, recently played host to two watercolor exhibitions. The above paintings were all presented during the "Fluid Fields" exhibition. The Painting Center , in New York City, recently hosted "Fluid Fields
    Read More >>
  • Art Business Success Story: Donna Dewberry
    A career as an artist can be one of the most creative, personally fulfilling professions available, but sometimes making art is less about self-expression and more about paying the bills. For Donna Dewberry—an acrylic decorative painter from Clermont
    Read More >>
  • Watercolor: Florence Strauss: Building Layers of Drybrush Color
    Californian Florence Strauss gradually builds layers of relatively dry watercolor paint on rough paper with a stiff bristle brush, starting with colors that define the background and moving to the objects in the foreground space. by M. Stephen Doherty
    Read More >>
  • Oil Painting: Ismael Checo's Materials and Techniques
    In the June 2007 issue of American Artist, we explored how Ismael Checo uses rich color to create an exotic and intense experience of the world. Here, we present an online exclusive still-life demo as another example of his oil technique. Checo’s
    Read More >>
  • Oil Painting: Warren Chang's Four-Stage Progression: "Approaching Storm: Broccoli Harvest"
    Take a closer look at Warren Chang's technique in this demonstration from the April 2007 issue of American Artist . The Thumbnail Sketch Using reference photos taken in the field, Chang did a 4"-x-6" pen-and-ink thumbnail sketch on paper
    Read More >>
  • Acrylic: Stephen Quiller: Color Choices That Improve Watermedia Painting
    After Colorado artist Stephen Quiller finishes presenting exercises, demonstrations, lectures, and critiques during a workshop, students often comment that no other instructor has covered that vital information with such depth and clarity. Even experienced
    Read More >>
  • Watercolor: Stephen Quiller: Color Choices That Improve Watermedia Painting
    After Colorado artist Stephen Quiller finishes presenting exercises, demonstrations, lectures, and critiques during a workshop, students often comment that no other instructor has covered that vital information with such depth and clarity. Even experienced
    Read More >>
  • Oil Painting: GALLERY: More of Ephraim Rubenstein's Still-Life Portraits
    View more of Ephraim Rubenstein's paintings depicting books in this online exclusive gallery. Library I 1997, oil, 32 x 21. Private collection. Books: Pile IV oil, 8 x 9. Prviate collection. Books: Pile IV oil, 8 x 22. Collection the artist. Books
    Read More >>
  • Oil Painting: Online Exclusive: Scott Noel's Artwork and Books' Consumable Nature
    by William Chapman Sharpe In the July/August issue of American Artist, William Chapman Sharpe investigated how oil painter Ephraim Rubenstein used books as subject matter in his paintings to explore their meaning in society and to serve as an indirect
    Read More >>
  • Oil Painting: GALLERY: James Tormey's Still Lifes
    In the December 2006 issue of American Artist , veteran painter James Tormey conveyed powerful meaning in his still lifes by continually shifting the backgrounds and settings in which they appear. Here, we present 10 more of his meticulous oil paintings
    Read More >>
  • Oil Painting: James Tormey: Still Life and Context
    This veteran painter conveys powerful meaning in his still lifes by continually shifting the backgrounds and settings in which they appear. by John A. Parks Icon 1994, oil, 18 x 12. All artwork this article private collection unless otherwise indicated
    Read More >>
  • Oil Painting: GALLERY: More of Philip R. Jackson's Extraordinary Still Lifes
    Take a closer look at Philip R. Jackson's unconventional still lifes in this online exclusive gallery. Tension Series: Sweet Victory 2006, oil on panel, 7 x 5. All artwork this gallery private collection unless otherwise indicated. Tension Series
    Read More >>
  • Oil Painting: Philip R. Jackson: Extraordinary Still Lifes
    Mississippi artist Philip R. Jackson’s unconventional still lifes ask viewers to see the beauty in everyday objects. by James A. Metcalfe The Mighty Goldfish Cracker 2004, oil, 8 x 10. Private collection. By casting ordinary items—a bunch
    Read More >>
  • Oil Painting: GALLERY: Nancy Colella's Landscapes and Still Lifesoi
    In the July/August 2007 issue of American Artist, we discussed how Massachusetts oil painter Nancy Colella maintains a sense of spontaneity in her landscape paintings. Here, we present more of her landscapes as well as her still-life paintings. Chat about
    Read More >>
  • Oil Painting: GALLERY: Joseph McGurl's Landscapes
    In this online exclusive gallery, we offer more mesmerizing landscapes by spring 2007 Workshop featured artist Joseph McGurl. Read the feature article on McGurl. In this online exclusive gallery, we offer more mesmerizing landscapes by spring 2007 Workshop
    Read More >>
  • Oil Painting: John Beerman: Light, Restraint, and Clarity
    This Hudson River Valley artist uses a limited palette to create landscapes drenched in an evocative and transporting light. by John A. Parks Hook Mountain, Nyack, New York 2006, oil on linen, 36 x 60. Private collection. All images this article courtesy
    Read More >>
  • Oil Painting: GALLERY: Ismael Checo's Technique
    We present more examples of Ismael Checo's oil technique and discuss his materials to expand upon his June 2007 American Artist feature article. Old Shoes 1987, oil, 16 x 20. All artwork this gallery collection the artist unless otherwise indicated
    Read More >>
  • Oil Painting: GALLERY: Susan Hope Fogel's Landscapes
    In the June 2007 issue of American Artist, we discussed how the influences of a prismatic palette, a gifted teacher, and a solid foundation in drawing combined to infuse Susan Hope Fogel's oil paintings with convincing realism and sublime atmospherics
    Read More >>
  • Oil Painting: GALLERY: More of John Beerman's Light-Drenched Landscapes
    We explored John Beerman's illuminating Hudson River Valley landscapes in the June 2007 issue of American Artist. Here, we offer more of his light-drenched landscapes, including an oil sketch for one of the pieces mentioned in the feature article
    Read More >>
  • Pastel: Kim Lordier: When to Be Critical, When to Let Go
    Californian Kim Lordier has succeeded by pushing herself to create better and more original paintings with pastel and by stopping herself from rendering photographic details. “I had to gain enough confidence to make marks that expressed what I wanted
    Read More >>
  • Masters: 20 Great Watercolor Teachers Offer Their Best Recommendation
    Despite the differences in their styles, materials, and techniques, the teachers we surveyed offered similar recommendations—up to a point. by M. Stephen Doherty Funchal by Frank Webb, 2005, watercolor, 22 x 30, Collection the artist. Over the past
    Read More >>
  • Watercolor: Teaching Watercolor Workshops to Beginners: Pitfalls to Avoid
    Helen Klebesadel offers tips on how to introduce the sometimes daunting medium of watercolor to novice painters. by Leanne MacLennan Cedar Dance II 2004, watercolor, 30 x 22. All artwork this article collection the artist. Watercolor instructor Helen
    Read More >>
  • Oil Painting: Rose Frantzen's Figure Painting Tips
    We explored Rose Frantzen's insightful approach to teaching figure painting in the spring 2007 issue of Workshop magazine. Here, we offer some tips from the article. View a demonstration of Frantzen's Emergence. Helpful Hint: Evaluate Your Process
    Read More >>
  • Oil Painting: GALLERY: More of Colin J. Callahan's Oils
    We present more of Colin J. Callahan's oil paintings that capture light with a sense of energy in the May 2007 issue of American Artist . Ireland 2004, oil on panel, 8 x 10. Collection the artist. Hills of Western Virginia 2005, oil on board, 11 x
    Read More >>
  • Artist of the Month: Alexandre Reider
    This month's featured artist is Alexandre Reider, a landscape painter who lives and works in Brazil. by Edith Zimmerman Washers by the River 2006, oil, 7 7/8 x 11 13/16. Collection the artist. Our Artist of the Month, Alexandre Reider , hailing from
    Read More >>
  • Using Egg Tempera & Gold Leaf to Achieve Renaissance Luminocity
    After a Trip to Italy, Fred Wessel learned more about egg tempera painting and adding gold leaf to his panels. He now teaches those procedures for emulating the dazzling beauty and inner glow of 14th- and 15th-century pictures. by M. Stephen Doherty The
    Read More >>
  • Oil Painting: Timothy Barr's "Back Bay"
    In the January 2007 issue of American Artist , we discussed how Timothy Barr explored his oil landscapes by combining multiple digital images, using Photoshop to design the perfect scene. Here, we present an excerpt from the article that further explains
    Read More >>
  • Pastel: Mark Norseth: Capturing the Ocean in Pastel
    Nine years ago, Mark Norseth moved his family to Hawaii and discovered the perfect place to record the power, movement, and coloration of the sea in pastel paintings. by Tamara Moan It’s easy to spot Mark Norseth around the town of Kailua, perhaps
    Read More >>
  • Pastel: Jean Ranstrom: Discovering Unexpected Subjects for Pastel Paintings
    Jean Ranstrom’s artist-friends are often surprised that she can create stunning pastel paintings in locations they would ignore. “If a painting has a strong focal point, as well as varied edges, values, and color temperatures, it can be successful
    Read More >>
  • Oil Painting: Colin J. Callahan: Seeking Energy and Light
    A combination of variable brushstrokes, a warm and dark underpainting, and careful observation of environmental conditions help New Hampshire painter Colin J. Callahan capture light with a sense of energy. by Bob Bahr Banana 2001, oil on paper, 31 x 21
    Read More >>
  • Oil Painting: GALLERY: Pauline Roche's Figure Paintings
    We present more of Pauline Roche's figure paintings that capture contemporary viewers mesmerized by the genius of Old Master work in the May 2007 issue of American Artist . View an audio slideshow demonstration of Roche's still-life work Spring
    Read More >>
  • Oil Painting: GALLERY: Brenda Turner's Oil Paintings
    In the winter 2007 issue of Watercolor , we discussed how Georgia artist Brenda Turner switched from painting with transparent watercolor to using gouache on dark-colored paper. In contrast, we offer a variety of her oil paintings in this online exclusive
    Read More >>
  • Masters: Lessons Learned: Monet's Influence on Robinson
    Time in Giverny with Monet transformed Theodore Robinson's work, and much of what he learned he later passed on to another promising young painter. by Stephen May A recent exhibition on Theodore Robinson (1852–1896) highlighted the importance
    Read More >>
  • Drawing Basics: Woodcut Prints or Oil Paintings?
    In the March 2007 issue of American Artist , Utah artist Brad Teare used a number of techniques to give his woodcut prints a fluid, organic quality that brings them closer in appearance to his plein air oil paintings . Here, we offer more the prints he
    Read More >>
  • Watercolor: Into the Heart of The Southwest: 20 Painters Interpret the Forbes Trinchera Ranch
    Forbes and American Artis t again invited a group of artists to spend a week together interpreting a vast Colorado ranch in their choice of medium, subject, and style. by M. Stephen Doherty View of Cat Mountain by Ephraim Rubenstein, 2006, oil, 9 x 17½
    Read More >>
  • Oil Painting: GALLERY: Marla J. Brenner's Plein Air Oils
    View more of Marla J. Brenner's plein air paintings in this online exclusive gallery, which expands upon the print feature in the April 2007 issue of American Artist . Headwaters of the South Fork 2006,oil on linen, 12 x 9. All artwork this gallery
    Read More >>
  • Watercolor: GALLERY: The Forbes Trinchera Ranch
    In this online exclusive gallery, we present more paintings from the Forbes Trinchera Ranch residency as a supplement to the feature in the March 2007 issue of American Artist . Creek by Ryan S. Brown, 2006, oil, 22 x 28. All artwork this gallery collection
    Read More >>
  • Oil Painting: GALLERY: David Ahlsted's Colorful and Geometric Paintings
    View more examples of how New Jersey painter David Ahlsted renders the world with geometric lucidity and brilliant color in this online exclusive gallery. Tankers and Refineries on the Delaware 1994, oil, 36 x 84. Collection New Jersey State House, Trenton
    Read More >>
  • Oil Painting: Warren Chang: Bringing the Past to the Present
    This California-based artist uses a 19th-century palette to create a nostalgic atmosphere in his paintings. by John A. Parks Entrance 2003, oil, 40 x 30. Courtesy Morseburg Galleries, West Hollywood, California. Warren Chang paints scenes from two very
    Read More >>
  • Oil Painting: Ned Mueller: The Importance of Value Studies
    In the winter 2006 issue of Workshop magazine, Ned Mueller discussed how to properly mix the right colors with which to convey a scene. Here, we offer an excerpt from the article. by Bob Bahr “Many students want to learn as much as they can in an
    Read More >>
  • Oil Painting: GALLERY: James M. Sulkowski's Oil Paintings
    In the winter 2006 issue of Workshop magazine, we explored how James M. Sulkowski showed students how to paint people posing in lush garden scenes during his Pennsylvania workshop. In this online exclusive gallery, we offer more of his oil paintings.
    Read More >>
  • Acrylic: CRITIQUE: "A Spanish Song"
    Our critic offers advice on painting rounded forms with soft edges to create realistic portraits. by Dawn Whitelaw A Spanish Song Acrylic on canvas panel. The artist has created a dramatic composition with a very appealing combination of interesting textures
    Read More >>
  • Acrylic: CRITIQUE: "West Coast Fall"
    It’s important to consider color theory when painting a landscape. by John Budicin West Coast Fall acrylic on canvas. It’s important to consider color theory when painting a landscape because often, as in this painting, the colors are too
    Read More >>
  • Acrylic: CRITIQUE: "Sunset Edith", "Solvang" and "Stream"
    Our critic discusses the importance of shadows and foregrounds when considering a painting’s composition. by John Budicin Sunset Edith The artist needs to consider how the shadows are placed in this painting. The interior shadows seem a bit dark
    Read More >>
  • EXHIBITION: Poetry in Design: The Art of Harry Leith-Ross
    The James A. Michener Museum, in Doylestown, Pennsylvania, will present this retrospective of work by Pennsylvania Impressionist Harry Leith-Ross through March 4. Poetry in Design: The Art of Harry Leith-Ross Through March 4 James A. Michener Art Museum
    Read More >>
  • Oil Painting: GALLERY: Ned Mueller's Landscapes and Portraits
    In the winter 2006 issue of Workshop magazine, we offered an inside look into Montana painter Ned Mueller's plein air workshops. Here, we showcase his figurative and landscape paintings as well as a few drawings. Norwegian Summer 2006, oil, 11 x 14
    Read More >>
  • Oil Painting: Painting the Figure in the Landscape: The Basics
    In the winter 2006 issue of Workshop , John A. Parks tackled what is arguably the most difficult subject matter: how to organize color to paint the nature of light. We present an excerpt from the article with Park's advice about the basic principles
    Read More >>
  • Oil Painting: Ruth L. Beeve: Responding to Chance and Planning Ahead With Water-Soluable Paint
    While on location at the Forbes Trinchera Ranch, in Colorado, Ruth L. Beeve used watercolor and water-soluble oil to capture a variety of subjects. Back in her California studio, she uses those studies as the basis for more ambitious graphite drawings
    Read More >>
  • Acrylic: Marcia Burtt: Bold Plein Air Painting From A Conservationist
    This Santa Barbara acrylic painter backs up her passionate views on land stewardship with an equally intense approach to painting the landscapes she loves. by Bob Bahr She is a calm, thoughtful person away from the canvas, but when she is painting, she
    Read More >>
  • Masters: Sweden's Sargent
    We went in search of Anders Zorn in his homeland and discovered a personality large enough to encompass numerous contradictions—and a natural ability to paint in both oils and watercolor. by Bob Bahr When Anders Zorn's name is mentioned in the
    Read More >>
  • Beginner Oil: Transistioning into Fine Art
    It's understood that a career in the visual arts can be personally fulfilling and professionally risky. That's why most people work secure 9-to-5 jobs and enjoy drawing and painting during evenings and weekends. But those limited hours just aren't
    Read More >>
  • Drawing Basics: From a Roman Fountain to a South Bend Studio
    In this excerpt from the fall 2006 issue of Drawing , David Mayernik discusses how copying the work of Old Masters trains his taste so he can draw and paint original work with the classical beauty he reveres. by Bob Bahr For David Mayernik , who has gone
    Read More >>
  • Acrylic: Painting On-Site on a Large Scale
    With adequate preparation and the right materials, it's possible to create large acrylic landscapes en plein air. by Andrew Paquette In early 2003, I left the high-stress feature-animation industry in Hollywood, California, and moved to Arizona, where
    Read More >>
  • Oil Painting: Josh Elliott's Tips for Painting Snow
    Josh Elliott, one of the artists featured in the February 2007 issue of American Artist , has painted snow in Montana quite a bit, but excitement still creeps into his voice when he discusses snow’s beauty and challenge. Here he offers some tips
    Read More >>
  • Oil Painting: Student Work From Ned Mueller's Workshop
    In the winter 2006 issue of Workshop magazine, Ned Mueller taught students how to use color effectively in their paintings. We offer Muller's comments on student work that was completed during the workshop. by Bob Bahr Before After Mueller asked for
    Read More >>
  • Watercolor: Steve Rogers: Inspiration at Higher Levels
    Steve Rogers can point to the specific time in his career when his watercolors changed from being average to exceptional. That occurred when he met his future wife, found a subject he was passionate about painting, and had a religious experience. by M
    Read More >>
  • Oil Painting: GALLERY: Judith Pond Kudlow's Oil Paintings
    In the February 2007 issue of American Artist , New York artist Judith Pond Kudlow followed a disciplined approach to representing objects and people exactly as they appear. We offer more of her oil paintings in this online exclusive gallery. Il Verde
    Read More >>
  • Oil Painting: GALLERY: Rick Hansen's Landscapes and Still Lifes
    In the February 2007 issue of American Artist , we explored how Rick Hansen painted landscapes and still lifes that reflected the way things appear at one moment in time. Here, we offer more of his paintings in this online exclusive gallery. Backwater
    Read More >>
  • En Plein Air: Thomas Van Stein: Painting the Light of Night en Plein Air
    Along a moonlit Santa Barbara beach this past June, seven artists learned how California nocturne painter Thomas Van Stein employs strong value contrasts, soft edges, and a simplified design to recreate the light of night. by Allison Malafronte Thomas
    Read More >>
  • Oil Painting: GALLERY: Josh Elliott's Tone Poems
    In the February 2007 issue of American Artist , we explored how oil painter Josh Elliott painted tones and designs in his landscapepaintings. Here, we offer more of Elliott's picturesque scenes, including several of what he calls his "tone poems
    Read More >>
  • Oil Painting: Josh Elliott: Tapestries in Oil
    Oil painter Josh Elliott strives to paint tones and designs, not just picturesque scenes. by Bob Bahr Evening Shadows, Swan Valley 2006, oil, 12 x 16. All artwork this article private collection unless otherwise indicated. Josh Elliott is 33 years old
    Read More >>
  • Oil Painting: GALLERY: More of James Woodside's Remote Landscapes
    In the February 2007 issue of American Artist , James Woodside discussed how his paintings reflected his experiences in some of the planet's remotest locations. Here, we present more of his plein air paintings in this online exclusive gallery. Breaker
    Read More >>
  • Drawing Basics: Preserving the Landscape in Colored Pencil
    Ohio artist Linda Wesner depicts American scenes that are quickly disappearing because she feels it is important that the viewer recognize the universal theme of change. by Bob Bahr Light Along the Hudson 2006, colored pencil, 25 x 12¾. All artwork
    Read More >>
  • Pastels: Taking Charge of Color
    Michigan artist Sharon Will uses the elements of color—value, hue, temperature, and intensity—to give her paintings drama and excitement. by Collin Fry Rocking Chair 2002, pastel, 12 x 9. Private collection. All artwork this article collection
    Read More >>
  • Pastels: Teaching Values
    Maintaining a distinctive value structure is at the core of Joann Ballinger's pastel instruction--and her own paintings. by Lynne Moss Perricelli In both her teaching and her own pastel paintings, Joann Ballinger emphasizes the importance of a distinctive
    Read More >>
  • Oil Painting: Timothy Barr: Online Exclusive Painting
    In the January 2007 issue of American Artist , Timothy Barr used Photoshop and multiple digital images to paint the perfect oil landscapes. Here, we offer an online exclusive painting that exemplifies Barr's work. Ausable River at Mt. Porter 2006
    Read More >>
  • Oil Painting: Sean Cheetham: Using a "Mud Palette" to Achieve Harmony
    To achieve accuracy and harmony in his alla prima figure paintings, Californian Sean Cheetham stresses drawing and a system of mixing colors based from “mud” mixtures, as he calls them, that govern shadows, midtones, and highlights. He recently
    Read More >>
  • Technique: Jack Beal Unveils Companion Mural in New York City Subway
    A glass mosaic mural by Jack Beal was recently mounted on the wall of a New York City subway station across from his related mural that was unveiled just after September 11th. This new image presents an earlier episode in the myth of Persephone, Queen
    Read More >>
  • Watercolor: SPONSORED CONTENT: The Artist Behind the Brand: Joe Miller
    by M. Stephen Doherty Winter Ain't Far Away watercolor, 15 x 15. Can a pharmacist who describes himself as cheap actually convince artists to trust his advice about buying art supplies? He can if he is passionate about art, respectful of painters
    Read More >>
  • Watercolor: Essay: A Visit With Andrew Wyeth, March 9, 2006
    Editor-in-chief of Watercolor magazine, M. Stephen Doherty, recounts his memorable visit to the home of legendary watercolorist Andrew Wyeth. by M. Stephen Doherty In this account of my visit with Andrew Wyeth, I hope to convey the sense that he is like
    Read More >>
  • Watercolor: Betty Carr's Basic Principles for Painting
    In the fall 2006 issue of Workshop magazine, verteran artist Betty Carr taught the fundamentals of light and color in the cool spring of France's Loire Valley and in a Scottsdale, Arizona studio. We offer an excerpt from the article explaining her
    Read More >>
  • Oil Painting: GALLERY: More of Katherine Ann Hartley's Still Lifes
    In the January 2007 issue of American Artist , we explored how Katherine Ann Hartley took her still lifes and her career to a new level of professionalism she never could have imagined by committing to a period of intense instruction and painting the
    Read More >>
  • Oil Painting: Travis Schlaht: Following Inspiration
    New York painter Travis Schlaht looks for—and finds—compelling beauty in many corners of life. Then, using a restrained but powerful palette, he mirrors it on canvas. by James A. Metcalfe Bar II 2005, oil on linen, 26 x 36. All artwork this
    Read More >>
  • Oil Painting: Timothy R. Thies' Color Charts
    In the fall 2006 issue of Workshop magazine, Timothy R. Thies taught students how to capture the temperatures of light and shadow in their landscape paintings. Here, we offer an excerpt from the article regarding color charts. by Edith Zimmerman A few
    Read More >>
  • Oil Painting: Color Temperature in Timothy R. Thies' Paintings
    In the fall 2006 issue of Workshop magazine, landscape painter Timothy R. Thies taught students how to capture the elusive and nuanced temperatures of light and shadow on the picturesque beaches of the Jersey shore. Here, we present an excerpt from the
    Read More >>
  • Oil Painting: GALLERY: Sean Cheetham's Figure Paintings
    In the fall 2006 issue of Workshop magazine, we examined how Sean Cheetham demonstrated that drawing and a system of mixing colors based from "mud" mixtures governed shadows, midtones, and highlights during a five-day workshop. Here, we present
    Read More >>
  • Oil Painting: Randall C. Sexton: Questions to Ask Yourself
    In the fall 2006 issue of Workshop magazine, Randall C. Sexton taught participants how to create oil paintings in response to subjects that they were anxious to paint. We present an excerpt from the article. by M. Stephen Doherty Is the focus of my painting
    Read More >>
  • Oil Painting: Sean Cheetham: Common Weaknesses in Figure Paintings
    In the fall 2006 issue of Workshop magazine, California artist Sean Cheetham explained how to achieve accuracy and harmony in his alla prima figure paintings. Here, the artist discusses common weaknesses in figure paintings in an excerpt from the article
    Read More >>
  • Oil Painting: Thomas Van Stein: Moonlight Reminders
    In the fall 2006 issue of Workshop magazine, Thomas Van Stein taught students how to capture the elusive light of night. In this excerpt from the article, Van Stein offers a number of helpful tips for artists to keep in mind when painting at night. by
    Read More >>
  • Oil Painting: Randall C. Sexton's Painting Tips
    In the fall 2006 issue of Workshop magazine, Randall C. Sexton taught participants how to create oil paintings in response to subjects that they were anxious to paint. We present an excerpt from the article. by M. Stephen Doherty Keep your palette organized
    Read More >>
  • Oil Painting: SPONSORED CONTENT: The Artist Behind the Brand: Joseph Gyurcsak
    Joseph Gyurcsak, the resident artist for Utrecht Art Supplies, is an art materials expert who assists artists, companies, and industry manufacturers in understanding different aspects of art materials and techniques. He also travels extensively, conducting
    Read More >>
  • Oil Painting: Lynn Gertenbach's Handy Tips for Painting Water
    In the fall 2006 issue of Workshop magazine, Lynn Gertenbach taught her students that plein air painting is a partnership between the artist and nature. We offer an exerpt from the article with Gertenbach's tips for painting water. by Molly Siple
    Read More >>
  • Oil Painting: A Study of Velázquez Results in Portrait Colors
    John Howard Sanden is one of the country’s leading portraitists working today. His clientele includes leading political, business, and religious figures, and he has toured the nation teaching his portrait-painting technique to thousands of artists
    Read More >>
  • Oil Painting: Malcolm T. Liepke: The Emotional Connection in Figure Paintings
    With sold-out solo shows, numerous awards, and prominent collectors to his credit, Malcolm T. Liepke is considered one of the finest figure painters working today. by Lynne Moss Perricelli Head Study Brunette 2002, oil, 12 x 8. All artwork this article
    Read More >>
  • Oil Painting: Thomas Van Stein: A Nocturne Painter’s Palette
    In the fall 2006 issue of Workshop magazine, California nocturne painter Thomas Van Stein taught seven students his process for capturing the light of night on canvas. Of the many challenges students faced, the most difficult ones seemed to involve value
    Read More >>
  • Oil Painting: Chris McHenry’s Palette
    In the November 2006 issue of American Artist , we explored how Texas artist Chris McHenry balanced constrasting values, color temperatures, and edges to establish depth, atmosphere, focus, and emotion in his oil landscapes. We present an excerpt from
    Read More >>
  • EXHIBITION: Paul Caranicas: Yesterday, Today & Tomorrow
    This exhibition of large-scale landscape paintings by Paul Caranicas will be on display at Bernarducci Meisel Gallery, in New York City, through October 28. Paul Caranicas: Yesterday, Today & Tomorrow Through October 28 Bernarducci Meisel Gallery
    Read More >>
  • Oil Painting: James Gurney's Books of Inspiration
    In the November 2006 issue of American Artist , we showcased James Gurney's impressive landscape paintings. We present an excerpt from the article that discusses the books that have influenced Gurney as an artist. by John A. Parks In developing his
    Read More >>
  • Oil Painting: Sarah Lamb's Technique & Materials
    In the November 2006 issue of American Artist , we explored how oil painter Sarah Lamb's passion for cooking brought a new sensibility to the art of still life. We present an excerpt from the article. by John A. Parks Peaches 2005, oil on linen, 17
    Read More >>
  • Drawing Basics: Lisa Dinhofer's Playful Oil Paintings
    In the summer 2006 issue of Drawing , New York artist Lisa Dinhofer drew convincing objects in imaginary spaces, finding meaning in both the items and their presentation. In contrast, we offer nine of her playful oil paintings in this online exclusive
    Read More >>
  • Watercolor: Sondra Freckelton: Planning for Expression
    Sondra Freckelton is widely recognized for her well-planned, thoughtful, and expertly crafted watercolors she develops using principles that expand artistic expression; and she is appreciated for helping others learn those principles while gaining a concrete
    Read More >>
  • Watercolor: Jamie Wyeth: Combining Water-Soluable Paints
    Like many artists accustomed to working with opaque paints, Jamie Wyeth prefers to use combinations of water-soluble materials rather than just transparent watercolor. He finds that layers of gouache, ink, graphite, acrylic, and watercolor allow him to
    Read More >>
  • Watercolor: Lee Boynton: Painting the Same Subject to Learn More About Light & Color
    Lee Boynton, a master of Impressionistic watercolor painting, explains how to learn more about color and value by simplifying your subject and painting it repeatedly under different light conditions. by Linda Gottlieb and M. Stephen Doherty Cozy Harbor
    Read More >>
  • Oil Painting: Milt Kobayashi: Paint What You Want to See
    Milt Kobayashi grants students permission to take complete control of their paintings and not feel obligated to paint exactly what they see. During a recent workshop, he encouraged participants to change a model’s pose, coloration, and costumes
    Read More >>
  • Drawing Basics: Just Imagine--Drawings by Lisa Dinhofer
    This New York artist draws convincing objects in imaginary spaces, finding meaning in both the items and their presentation. by Lynne Moss Perricelli Into the Light: Yellow 2004, colored pencil and collage, 19 x 22. Collection the artist. New York artist
    Read More >>
  • Drawing Basics: The Emergence of Tonal Drawing
    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
    Read More >>
  • Oil Painting: James Gurney's Paintings: Fact & Fantasy
    This New York state plein air artist creates impressive landscape paintings informed by his work as an illustrator and inspired by the work of the Hudson River School. by John A. Parks Creek Above Kaaterskill Falls 2004, oil, 20 x 16. All artwork this
    Read More >>
  • Watercolor: 10 Tools for Better Watercolors
    Artists often limit their potential by not taking full advantage of watercolor paints and supplies. Here’s advice that has proven helpful to my students. by Catherine Hillis There is so much conflicting information and advice available to watercolorists
    Read More >>
  • Drawing Basics: Jon DeMartin's Drawing Workshops to Improve Paintings
    “One of the biggest reasons painters get into trouble is because their pictures don’t have a solid foundation of accurate and expressive drawings,” says New York artist Jon DeMartin. That’s why his drawing workshops are so helpful
    Read More >>
  • Drawing Basics: Inside the Atelier: Learning How to Draw on the Right Side of the Brain
    As the son of Betty Edwards, the author of Drawing on the Right Side of the Brain , Brian Bomeisler helps students access the right side of their brains to improve their drawings. The following describes the first day of Bomeisler’s five day drawing
    Read More >>
  • Oil Painting: Ken Auster's Technique in a Nutshell
    In the October 2006 issue of American Artist , California artist Ken Auster explained how he pursues an aggressive, take-no-prisoners approach to plein air painting. Here, we offer further insight into his technique. by John A. Parks Canvas. Cotton duck
    Read More >>
  • Oil Painting: Tim Kennedy's Painting Process
    In the September 2006 issue of American Artist , Indiana artist Tim Kennedy explained how his figurative paintings have a connection to other artists, past and present. Here, the artist describes his painting process. Dancers 2005, oil, 72 x 60. Courtesy
    Read More >>
  • Oil Painting: GALLERY: More of Ken Auster's Oil Paintings
    In the October 2006 issue of American Artist , oil painter Ken Auster discussed how he paints in layers to achieve powerful illusions and rich surfaces. In this online exclusive gallery, we present five more of his works. This Buds For You Oil. This is
    Read More >>
  • Oil Painting: Gene McInerney: The Delicate Engineer
    This Pennsylvania artist combines alkyd with oil to achieve poetic paintings of his local landscape using a closely controlled technique. by John A. Parks Gene McInerney paints delicate views of his beloved Pennsylvania countryside with a fullness and
    Read More >>
  • Oil Painting: GALLERY: Landscape Paintings from Joseph Gyurcsak
    In the October 2006 issue of American Artist, Joseph Gyurcsak explained how he paints interior light. In contrast, we present 12 more images, mostly of landscapes, in this online exclusive gallery. Rachel's Room Oil on canvas, 11 x 14. The Dining
    Read More >>
  • Oil Painting: Painting Interior Light
    Room interiors provide an excellent opportunity to paint a variety of light intensities, colors, and effects; but they also present challenges in trying to capture the subtleties of forms within those dimly lit spaces. by Joseph Gyurcsak Interior scenes
    Read More >>
  • Oil Painting: GALLERY: More Figurative Paintings From Tim Kennedy
    In the September 2006 issue of American Artist, Indiana artist Tim Kennedy explained how his figurative paintings have a connection to other artists, past and present. In this online exclusive gallery, we present nine more of his works. Rental, oil on
    Read More >>
Advertise | Subscribe | Community Guidelines

Copyright (C) 2012 Interweave Press, LLC
Use of this site signifies your agreement to the Terms and Privacy Policy, updated March 2007
Interweave network sites:
Artist Daily Beading Daily Cloth Paper Scissors Crochet Me
Interweave Store Jewelry Making Daily Knitting Daily Quilting Daily
Sew Daily Spinning Daily Weaving Today