Tag: Features

American Artists First Annual Weekend With the Masters Workshop & Conference: A Historic Event!

Several of the masters gathered together for a photo during the Saturday evening “Encouraging the Mastersof Tomorrow” silent auction and reception. From left to right: American Artist editor-in-chief M. Stephen Doherty,Joseph McGurl, Kevin Macpherson, Frank Serrano, David A. Leffel, Jacob Collins, Jeremy Lipking, American Artist publisher David Pyle,and Daniel Gerhartz (kneeling). American Artist recently concluded…

Building Rich and Full Layers

Lake Louise Steps2008, pastel, 24 x 18. Collection the artist. By subtly layering pastel, Marlene Wiedenbaum creates a luscious and convincing sense of the world.  by John A. Parks In her pastel painting Path With Trees to Hidden Pond, Marlene Wiedenbaum presents a resplendent view of a glade whose rich canopy encloses a forest floor…

Drawing Fundamentals: Modeling Planes

Objects look convincing when a draftsman models the form correctly. Here, we take it step by step to ensure accuracy and a solid foundation. by Jon deMartin Every artist wants to master the modeling of form, using value to create a third dimension in a drawing, so let’s take a look at this fundamental task.…

10 Steps to Determine Values in Watercolor

Although I am known for using vibrant colors to create what appear to be playful, spontaneous images in my watercolor paintings, the key to the success of these paintings is the value structure of the compositions. Here’s how I teach others to use studies to plan effective compositions.      by David R. Daniels Before you begin…

Think Big, Paint Big

Antonio Masi employs both the atmospheric and graphic capabilities of watercolor in his commanding paintings of New York icons.     by John A. Parks Red Fence—Williamsburg Bridge2008, watercolor, 60 x 40. Collection the artist. In Antonio Masi’s watercolors, the bridges of New York City live and breathe the light and air of the city, dissolving into…

A Studio Worthy of Rockwell

When building his studio, Christopher Pierce looked nearby for inspiration from an American master. by Austin R. Williams Artist Christopher Pierce’s home, library, and barn on the property he calls Innisfree, in Shushan, New York. The studio building is located to the right of the barn. When artist Christopher Pierce decided to build a studio…

3 Proven Ways To Start Watercolors Outdoors

Michigan artist Jim Johnson offers valuable hints for successful watercolor painting outdoors.      by Collin Fry S.S. Kewatin2000, watercolor, 9 x 12. All artwork this article collection the artist unless otherwise indicated. Jim Johnson loves to paint outdoors. “There is such beauty to be seen in the random mixtures of light, color, texture, and pattern in…

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. by M. Stephen Doherty Andrea J. Smith made corrections on a student’s sight-size drawing at the Atelier Canova,…

Tension and Abstraction in Realism

Catherine Murphy’s provocative and tense  graphite drawings defy category, leaving the viewer wondering if she is tightly rendering abstraction or abstracting realism. by Lisa Dinhofer Mowed Field1985, graphite, 14 x 17. All artwork this article private collection unless otherwise indicated. A lone cake in a lit oven, a cat-scratched chair, the back of a crudely…

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. by John A. Parks Scene from The Last of the Mohicans, Cora Kneeling at the Feet of Tamenundby Thomas Cole, 1827, oil, 25 3/8 x 35 1⁄16. Collection Wadsworth Atheneum,…

Creating Movement in a Still Life

Whether painting in oil or pastel, Connecticut artist Claudia Seymour avoids static compositions by using line, color, and design to move the viewer’s eye through the painting.      by Linda S. Price Persian Bittersweet2003, oil on linen, 20 x 16. All artwork this article collection the artist unless otherwise indicated. “Still life is inexhaustible,” Claudia Seymour…

Painting Roses and Delphiniums

In the Watercolor Fundamentals article in the Spring 2009 issue of Watercolor, I explained how to set up and paint a basic floral still life. This time I will demonstrate a more involved arrangement of roses and delphiniums. As I’ve suggested here, you might want to practice drawing and painting the shapes of the flowers…