How to Draw Flowers

Tulips in a Square Vase by Susan Van Campen, 2006, watercolor painting, 23 x 30.
Tulips in a Square Vase by Susan Van Campen, 2006,
watercolor painting, 23 x 30.

Taking a sketchbook out into nature to create a flower drawing can be as helpful as any studio session. Studying the organic forms of a flower as they occur in nature allows artists to sharpen their skills with gesture, color, and light and shadow. And, arguably, the shape and "design" of a flower or budding plant can challenge the artist just as the figure does because both are complex and take a sharp eye to discern their proportions and structure.

Transporting a cut flower indoors and arranging it in a vase is always a good way to learn how to draw flowers, too, because it pushes artists to arrange strong compositions and figure out a focal point or center of interest for a still life arrangement or floral painting.

There is no one way to draw flowers. Artists take this pursuit in many different directions—from creating impressionistic works that emphasize color and gesture to more naturalistic pieces that emphasize the appearance and details of the specific flower itself. 

Because flower drawings and floral paintings often are most often experiments in line and color, artists will work with graphite, pen and ink, pastel, or watercolor when delving into this genre, but truly there is no medium that is off-limits to this subject matter. It is up to the artist to decide how best he or she can create a rose drawing, for example, and to be true to their own vision.

 

How to Draw Flowers with a Naturalistic Likeness

Bouquet by Susan Van Campen, June 2006, watercolor painting ,42 x 29½. .
Bouquet by Susan Van Campen, June 2006,
watercolor painting ,42 x 29½.
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Flower drawing for Susan Van Campen is not a matter of arranging an aesthetically pleasing setup or conceiving the most striking composition. It is instead about drawing the life of a flower—the naturalistic details that give each its own likeness. "My aim is not to create a pretty picture," the artist emphasizes. "Rather, I am trying to capture the character of the flower—almost as if I'm painting a portrait."

Van Campen employs the versatile, direct medium of watercolor—and has come to love the process. "In oil painting, each brushstroke counts," the artist explains. "But, with watercolor, great things can often happen without the artist expending too much effort. In the beginning, when I was first learning watercolor, it was difficult to adjust to the medium, but the more I worked with it, the more I realized the water actually does a lot of the work. It's one of those things you can't teach—just like anything else in life, the more you do it, the better you become at it."

Van Campen always creates her flower drawing art from life—sometimes sitting on the ground in her garden directly from the subject, while other times she'll cut a bunch of branches and bring them inside, setting them up on white surfaces and in front of white walls.

Once inside, Van Campen arranges her setup to bring the most clarity and focus to the subject. "I work on a large white counter with a plain wall behind it," she describes. "Everything is cleared away so I can concentrate only on the fruit, flowers, and vases that I want to draw or paint." The artist always stands when she works indoors, keeping her paper on the counter and her paints on the chair next to her. She uses Winsor & Newton watercolors and Arches 300-lb cold-pressed paper and notes the dramatic turn her work took when she changed the quality of her materials. "When I first started painting in watercolor, I used cheap brushes and paper," Van Campen admits. "When I switched to a higher-quality paper, I was astonished at how much my work improved—the water and the pigment hit the paper in a completely different way."

In addition to the quality of her paper, Van Campen counts preserving the white of her background as greatly adding to the freshness and spontaneity of her work. "For me, it's important to have that white background spacing the flowers," she says. "It's like painting a portrait—I wouldn't want a lot going on in the background distracting from the face of the person. The same is true when drawing or painting flowers—having a white background and surface simplifies everything for me and the viewer. There's no clutter, and the focus is on only the characteristic details of the flower."

Once satisfied with her arrangement, Van Campen begins composing, starting by drawing only the vases or bowls. "I never sketch the flowers, just the containers holding them," the artist explains. "In a sense, I am drawing flowers all along—only I'm drawing with my paintbrush. I don't work with a dry brush at all, nor do I work in washes. I am very direct with the paint and am basically just playing with puddles of water throughout the process—a puddle here for the shape of a flower, a puddle there for a stem or leaf—and, as I add the pigment to the puddle, I watch how it's going to react. At any given moment, I may have four or five wet areas of paint, so I have to be aware of what's going on around the paper. Because I have been doing this for so long, I know how the water is going to treat the pigment, and I use that knowledge to describe the shape of what I'm painting."

Source: from an article by Allison Malafronte, 2008

 

Learn How to Draw Flowers--Their Decay and Regeneration

. At the Edge by Joan Wadleigh Curran, charcoal flower drawing on paper, 50 x 38, 2009.
At the Edge by Joan Wadleigh Curran,
charcoal flower drawing on paper, 50 x 38, 2009.
.

"I think that the reason people love drawing is because it's so basic," says Joan Wadleigh Curran matter-of-factly. "It's how we first learn to interpret our world in a visual manner." For Curran, drawing is both a foundational skill and a means of translating images and concepts that inspire her. The artist works in a range of media, including charcoal, oil, and gouache, preferring one over another at various times depending on the source of her inspiration.

Regardless of how her work is labeled, the artist's focus is always clear: The symbiotic, and at times antagonistic, relationship between people and the landscape. "For a while I was interested in the subject of gardens," she says, "because it was a perfect example of man controlling and altering nature. In a lot of ways a garden shows as much about the creator as anything else."

Curran has always enjoyed painting the natural world, but upon moving to Philadelphia, she found herself attracted to another facet of her environment. While out one day gathering photographic references, she came upon a tree that was in the process of being pruned and felt compelled to record how to draw a tree like this in the condition she found it. "It had become gnarled from the pruning," she recalls. "That's when I became interested in the relationship between man and nature, especially natural organisms living in an urban context."

With this in mind, Curran's exploration led her to subjects that are rarely noticed by passersby—the weeds, branches, and roots that break through pavement and fencing in order to survive. The resulting charcoal plant-life sketches and flower drawings are intimate and detailed while also being representational. No doubt the black-and-white image connotes a sense of reportage, but through her use of the white of the paper and dynamic composition, these objects become elevated.

Vegetation, normally the bane of every gardener or landscaper, is given the attention of a fine flower drawing illustration. "I've always been interested in the singularity of objects and their power," the artist says, "and because I'm extracting the object from the landscape once I'm back in my studio, I tend to think of it as isolated. But I take this approach because doing so allows me to really analyze and decode what about the image turned me on in the first place.

"I build up the image slowly through hatching," she says, noting that it may take her two weeks or longer to complete a drawing. "I'll use some smudging and erasure to get the lights I want. I like to have the full range of values so that I can really convey a sense of drama." She works on Stonehenge paper because its vellum surface can withstand repeated erasure without fuzzing.


Source: from an article by Naomi Ekperigin, 2012

 

Tips on How to Draw a Rose, How to Draw Flowers, and More

. Red and White Roses by Stephanie Birdsall, pastel floral drawing, 16 x 22.
Red and White Roses by Stephanie Birdsall,
pastel floral drawing, 16 x 22.
.

Working from nature can give an artist a greater sense of texture, delicate gradations of light and shadow, gesture and movement, and color. But what is most helpful about learning how to draw flowers is that this subject matter can most often be sketched and drawn according to your own comfort and pace. Knowing that, and with the tips below, you'll be well on your way toward making the most out of every moment you spend with pencil in hand.

Take down bits of information. Going out to a nearby park or meadow and taking note of different pieces of visual information is a great way to warm up for a flower drawing sketch session. These jottings can stay as they are in your sketchbook or become the basis of a more finished drawing later on.

How to draw a rose. A rose drawing is iconic, but sometimes challenging to create. The trick is in the gesture of each stroke. Drag your implement--charcoal, for example--in one gesture that captures the shape and position of the petals of the flower. It may take more than one try, but working to create the flower's bud with less strokes will make it look more realistic, believe it or not.

Start with an outline. Outlining the bold shapes of a leaf or flower is a great way to start a flower drawing or floral painting because it gives you a sense of how the forms create a pattern or visual rhythm. You can also begin to see the flower as a whole as opposed to its many parts, which can be helpful when trying to create strong cohesion in a flower drawing.

Resources

Free eBook: Painting Flowers with Artist Daily—How to Paint Flowers
and Create Dynamic Action in Floral Painting

 


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  • Seated Muse by James Langley , a Foundation Studies professor at SCAD. The Savannah College of Art and Design (SCAD) believes certain artistic skills and techniques are fundamental for all students, whether these students happen to be filmmakers, architects, fashion designers, animators, or fine artists
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  • Bob Bahr talks about his favorite pencil and asks readers for their opinions.
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  • There’s one thing and one thing alone that makes for a successful tonal drawing : seeing masses rather than outlines. Lines are for flow charts, architectural blueprints, and driving on the right side of the road. To a certain extent I am kidding—there are some incredible draftsmen who work
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  • My pencil drawing, Alley , was the result of a 40-minute pose that I did a few weeks ago. Let’s get right down to the business of drawing. I attend life drawing classes twice a week at Spring Street Studios, and for many years now, I’ve been
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  • 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
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  • Drawing with ink takes the precision of a master draftsman and the skill of a watercolorist handling a fluid medium. When I was in school I was completely captivated by the silky dark lines of one of the most famous pen and ink artists, Aubrey Beardsley
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  • Alaska-born artist Steven Huston knows that when there's no mammoth sports arena or cheering crowds, an athlete on the field of play can easily turn into an artist's ideal model. Even without motion, an athletic figure still possesses an interesting pose, physical awareness, and conceptual power
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  • An artist shuts the door on inspiration and creative possibilities when he or she withdraws from exploring subject matter because there doesn’t appear to be anything new to say. Painting flowers or fruit can seem to lead down predictable paths, but there’s always another avenue to explore
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  • I don’t have pets but I really love drawing animals because it allows me to focus on a subject matter that is totally different from what I’m used to. Animals’ bodies vary dramatically from bird to reptile to mammal, and that means I
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  • 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
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  • Head drawing and the ideals of proportions have changed dramatically over the centuries. However, one thing has remained the same--a secret system of rules that few artists even know about, which are universally truthful and, when closely studied, can
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  • 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.
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  • Still Life with Apples by Paul Cezanne, 1879. That’s a bold statement—even from Paul Cézanne—but the artist was true to his word. He set out to reinvigorate painting and he did just that. The French artist became the conduit between
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  • I won't lie when I tell you that looking at artist sketchbooks is one of the things I love to do most. And I've found that the pages that I linger over are usually filled with landscape drawing sketches. It is like I can look at the drawing and
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  • In Vladimir Nabokov’s novel Invitation to a Beheading , the pencil is described as the “enlightened descendant of the index finger.” That sounds about right, especially considering the pride of place that artists often afford their pens, brushes, and pencils. For many artists, however
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  • Amy Mann converted the living room in her Virginia home into a studio with generous shelving for her still life props. I remember the first time an artist invited me into his studio. It was truly a reflection of his personality and experiences—full
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  • 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
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  • What makes an object look three-dimensional in a painting or a drawing? We use a variety of cues to give us this information: light and shadow, contrast, pattern, color, texture, scale, temperature and value, usually in combinations. Our ability to measure
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  • Let's talk about common mistakes we all make because if you are making these mistakes and are told to look out for them, it will speed up your progress considerably. I am using examples of my student's drawings from the masterclass I teach to
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  • Not too many years ago, San Francisco based artist Sadie J. Valeri was an aspiring figure painter stuck in a still life studio. She had a good deal of time on her hands to hone her painting and drawing skills, but her workspace was less than 100 square feet. The space constraints, plus the costs of hiring
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  • The moment the June issue of The Artist's Magazine hit the newsstands we started to receive a deluge of letters of protest and of praise. The cause of controversy was an article I’d written on the work of social realist Max Ginsburg, whose beautiful
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  • It feels right to talk about color and art during this time of the year, when flowers are blooming, trees are budding, and skies are (mostly) blue. After months of dull-colored scenery, everything seems to be flourishing wherever I look, which makes me
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  • 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
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  • Seeing a painting or drawing progress from beginning to end allows the finished artwork to be understood as a series of discrete steps leading to a virtuosic whole. During a recent tour of the Grand Central Academy (GCA), in New York City, I observed instructor Joshua LaRock developing a drawing of Michelangelo's
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  • For just a few seconds, I thought that watercolor painting pencils were some kind of April Fool's come lately prank. I mean, everything I think of and know about watercolor painting is that it is fluid and kind of uncontrollable. In a pencil, how
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  • Can you imagine figuring out how to draw a face—the same face—350 times or more, and making each portrait drawing different and as compositionally sound and interesting as if you had made only one? Quite a task, yet Italian designer, sculptor
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  • Drawing is a fundamental skill for artists, emphasis on "skill." That means there are basic drawing rules and approaches that work, including these six tips on how to draw anything accurately. Delmonico Building by Charles Sheeler, 1926, lithograph
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  • I'm a people pleaser. I innately want to make those around me happy and satisfied. So when an Artist Daily reader came to me wanting to know more about how to draw flowers, I wanted to come back to them with a resource that could really get to the
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  • What makes an object look three-dimensional? We use a variety of cues to give us this information: light and shadow, contrast, pattern, color, texture, scale, temperature and value, usually in combinations. Our ability to measure these different parameters
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  • Every year, we invite pastel artists to enter their work into our annual Pastel 100 competition, now in its 14th year. And every year, we receive thousands of pastel paintings. I am always stunned by the fantastic variety of the work and the extraordinary
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  • I am usually heartened when I hear disagreements about matters of art and technique. Maybe I'm just combative that way, but more likely, I think I take such debates as a sign that there are more artists coming to the table, that the field is growing
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  • When I say "the perfect blend," I feel a little bit like I am describing a gourmet coffee flavor, but there really is a perfect blend that exists in pastel painting. For me, the crème de la crème of pastel drawings combines a certain
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  • This issue features a special section on colored pencil —we consider the advantages of the medium and look at the work of several contemporary artists doing wonderful things with their materials. We also look at ways that artists can use drawings to prepare for work in other media.
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  • If I had a time machine and could travel back to learn how to oil paint from any artist in history, I would not spare a second thought setting the clock to circa 1895, smack dab in the middle of the era when Odilon Redon was refining his fine art oil
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  • Nature provides a constant source of creative inspiration to all of us. But to capture its spiritual essence, one must first discover one's own emotional connection to the subject. It's that special "something" that grows out of each
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  • I don't think the failure or success of a drawing has to do with the drawing ideas that the artist starts with. He or she could choose pretty much anything and make a go of it, don't you think? It also doesn't depend on whether the artist
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  • I may have grabbed your attention at the risk of making you think I'm a big fat fibber, but I do think that when it comes to landscape painting, you sometimes have to lie--or at least exaggerate--to get what you want. This is based on personal experience
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  • I'll admit that in the past I have been guilty of thinking of colored pencil art as colorful and bright and not necessarily able to be coupled with serious subjects or moody narratives. But that was my own bias. As I've spent time looking at sketchbooks
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  • When it comes to being able to draw with a paintbrush, no one can touch Rembrandt. He was able to turn abstract brushstrokes into forms with texture, weight, and liveliness. He could turn two swipes of a painting brush loaded with white paint into the
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  • I love stumbling upon facts about artists that make me rediscover them and consider their process in a whole new light. That's the kind of moment I had when I discovered that Roy Lichtenstein, the king of Benday dots and comic-book narratives, loved
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  • With so much interest in plein air painting these days, it's easy to overlook how important drawing skills can be to the landscape painting artist. Fundamentally, drawing is both a way of seeing and a way of knowing a subject. If you can draw it,
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  • I recently had an Emeril Lagasse moment--and it happened when I mixed pastels with water for the first time. Three Sunflowers on Blue by Jimmy Wright, pastel painting, 30 x 41. A while back, I confided that I wanted to start an earnest study and exploration
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  • It’s quite sad that 18 th -century painter Luis Melendez died poor and relatively unknown and yet he is now recognized as one, if not the, greatest still life art painter of his day. His style and approach as a still life artist breathed new life
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  • When I paint figures the work seems to matter more--I find that I'm more focused on the process than when I am just drawing fancifully from my head or creating a still life. And by "matter" I mean that the intensity is ratcheted up just
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  • In figure drawing and painting, knowing the ins and outs of the human body is essential. There's no way around that fact, and honing our skills with anatomy drawing helps us understand and truly see the body more accurately than any other endeavor
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  • I'm an artistic omnivore to be sure, but there is really nothing I love more and respond to more than pencil drawings. I know, the humble pencil and paper seems so simple, so basic. But what some forego and forget as too elementary, I see as essential
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  • I was doubly lucky last week because I had a thoughtful discussion with a great artist, Patricia Watwood, about how most notable representational art is "real" and about what happens to artists when they are faced with stepping outside that
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  • For a drawing to be successful, you've got to start off choosing the right drawing surface. No matter how great the drawing ideas you have or the drawing art skills you bring to bear in the process, if you aren't pairing surface and implement
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  • Like his father, our Son and Heir likes to bicycle around the countryside, and during the autumn he never returns without panniers full of wild apples, picked from abandoned fruit trees . An abundance of apples or a challenge to face in your art--both
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  • Another slice of my personal humble pie is the fact that I'm pretty bad at math in general and downright horrible at geometry in particular. You'd never ever find me trying to use these skills when making art--or so I thought. But when I was gleaning
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  • Foreshortening! For me, it is truly the stuff of nightlights and pulling the covers over my head. I've struggled really hard to learn how to draw foreshortened objects and figures, because my mind constantly overrules my eye, saying, "That can't
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  • I respect Steve Wilda's approach to still life painting because he depicts objects that most people would pass by. Torn lace tablecloths, broken mugs, rusted out pots—the items that Wilda depicts aren't refined, yet the still life paintings
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  • That was my first thought when I started to explore acrylic painting. The paints would dry so fast and it drove me crazy because I couldn't figure out what I was doing wrong. Looking back, I realize how many acrylic painting techniques I still had
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  • It's the strangest thing. As I have said before, when I started taking art classes so many years ago, I really did not like still life painting . Now I love it, finding objects with which I connect and arranging them. There can be something almost
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  • Okay, I'll admit that skull reading and phrenology sound a little silly to me. Trying to get a sense of a person from the hollows and grooves on their skull? Not buying it. But I do know that "reading" the skull as an artist is key when
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  • It is such a treat when you see an artist's work and you like it. Then you talk with the artist and you like him or her. And then you see them in action as an instructor and you fall for their teaching in a big way because everything they say makes
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  • Click the picture above to view your free video lesson on charcoal drawing. I was inspired recently when I went to an art gallery show and saw some wonderful charcoal drawings. For so many of us, charcoal lessons were part of our first explorations of
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  • I recently took a life drawing class and showed my sketches to a friend, who's a super-skilled painter. I was reluctant to share them, but when she looked at my final sketch--in which the model had her hips contrapposto but twisted slightly away from
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  • Oftentimes we think that still life paintings tell quiet stories or personal, introspective narratives. I've certainly been guilty of it, but I'm not going to hide behind my pride. I've discovered that I couldn't have been more wrong!
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  • Did you just read that and think, "Wha-wha-what?" Well, when I first saw the phrase--which was originally applied to the sculptures of Antonio Canova--applied to the work of Pierre-Paul Prud'hon, I had the same reaction. But it is true-
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  • Hello there, I'll be doing some blogging for Artist Daily about human figure drawing . The plan is to do half of the blogging as written text and half as video episodes where it would be easier to demonstrate the concepts I would like to talk about
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  • When I met a woman who told me about the best watercolor painting instructor she'd ever had, I had to know more. There are so many artists out there whose work is compelling but that doesn't always make them good teachers. I had to know what put
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  • I roll my eyes every time I hear about representational art and realism being "imperiled," because there are so many important representational artists painting right now. It's almost offensive how people think legitimacy comes with the
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  • I feel like every time I pick up a pencil to attempt portrait drawing, I am back in elementary school learning the basics of how to draw a face all over again. You know that art argument about whether you need natural talent to learn how to draw? Well
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  • Art makes stories come alive. To me, it is as simple as that. And sometimes without art, there is no story-—or, at least, it's not quite as good. This was the case for the great American novel Moby-Dick . It is hard to imagine that Melville's
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  • I've always thought of a painter's drawings or pencil sketches as his or her diary. A finished painting is the confident, public face shown to the world, but sketch drawings read like journal entries, where you can see an artist's preoccupations
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  • I've always thought of art as a bit of a touchstone for really great memories in life. A few months ago I was reminded of this when I went for a visit to Scotland because, while I have snapshots galore to show for my trip, the one item that really
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  • There's something immediately nostalgic about Charles Kanwischer's graphite drawings. When I first saw them I immediately felt like I was looking at an old black and white snapshot. But in a way, his simple drawings are far better than snapshots
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  • Plenty--especially if you are trying to figure out how to draw a person in that chair. Drawing people standing up is waaaaaay more straightforward than puzzling out how to proportion and position a figure sitting down. But to draw people this way opens
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  • I was in the studio of my oil painting artist friend the other day and she had a really sizeable bucket filled with oil paint tubes sitting beside her palette. Some of the tubes were so squeezed out and folded up that I wondered if there was anything
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  • When I first saw the work of drawing artist Joan Wadleigh Curran I felt trapped...in a very good way. Curran takes as her subject matter from objects and places that most people would steer away from—dirty trash bags snagged on a chain link fence;
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  • There's no shame in your game if you haven't heard of this kind of perspective drawing ...or lack thereof. I kind of pride myself on knowing a good bit about how to draw perspective (although my actual execution of a perspective drawing is usually
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  • I'm not a napping kind of person. When I'm up, I'm up and I want to be doing something or on the go. That's usually the kind of body drawing that I'm pulled to as well--muscles torqued, body indicating action, and an underlying sense
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  • There are subject matters that are fairly easy to take in and those that need more time to understand and a willingness on the part of the viewer to move out of his or her comfort zone. Works that artistically represent intense events--like violence or
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  • I don't care what anyone says, color is king. It makes everything better--more appealing and lively. Oftentimes in an artist's drawing practice, a sense of color takes a backseat to the black, white, and gray of charcoal or graphite. But that
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  • The winners of our Self-Portrait Cover Competition are featured in the September issue of American Artist, and they share advice about how to paint the figure and how to maintain a successful painting practice. When we asked David Tanner, the winner of
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  • Painters and draftsmen alike puzzle through perspective drawing issues. They almost have to if they want to establish any kind of sense of space in their work. Without linear perspective, all that remains is the flatness of the surface-and no artists
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  • I have always loved charcoal drawings. A few years ago, I came across a book of charcoal figure drawings by Henry Yan , who was then an instructor at the Academy of Art University in San Francisco. I immediately bought two copies of the book--one to keep
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  • I chatted with a watercolor painting workshop student the other day who sighed, "I'm not a real artist. I probably never will be." "Why?" I asked. "First, because I'm still taking painting workshops and learning. Second
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  • The number one strategy for still life painting and drawing that professional artists have recommended to me or have explained to art students within my hearing (yes, I'm a major eavesdropper) is that you should not settle for the first object that
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  • The art of still life painting is a time-honored one that has been around since at least the time of the ancient Egyptians. Still life paintings were often used to adorn the interiors of Egyptian tombs with the belief that these depictions of food and
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  • In this issue, we reveal the finalists in our self-portrait cover competition and look at the atmospheric landscapes of David Dewey.
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  • In its most elementary form, a pen and ink drawing is stark black marks against a white surface. No dilution of color, no shades of gray. But artists who've spent time inking their way across a page know that drawing with ink can actually be an incredibly
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  • Can you think back and remember what it was like to really struggle with a concept? I've got no pride. I've done this a ton of times--riding my bike, algebra, Avogadro's number...and perspective drawing . I thought once I got to college and
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  • 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
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  • 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
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  • Not if artist Claudia Seymour has anything to say about it. Recently 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 . Spring
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  • A few weeks ago an artist friend of mine rotated his wrist and made a wincing face after he had finished working on a quick pencil drawing , and it made me realize that drawing isn't just fun and games. It can cause strain in the hand, wrist, elbow
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  • 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
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  • 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.
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  • So often with still life paintings, we focus on the objects in the painting first—and rightly so; they do take center stage. But still life artists know that backgrounds can play a major role in the look and feel of a painting as well. A still life
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  • Moonrise, La Giudecca, Venice by JMW Turner, 1829, watercolor painting, 8 7/8 x 11 1/4. Delicacy, luminousness, light, and color--these are what you can expect when you look at a watercolor painting . But details? Heck no--or at least, not much. With
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  • The appeal of tonal drawing is that it truly embodies visual subtlety. Instead of being the domain of line, the techniques that lead to a successful tonal drawing reside in value and shape. But learning how to draw tonality has been, for me, a hard road
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  • In this issue, we look at a few artists who are doing new and exciting things with mixed watermedia, including the 44th Annual American Watercolor Society Gold Medal winner, Jeannie McGuire.
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  • 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
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  • 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
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  • Cube figures allow me to focus on the basic shapes of the body. This can lead to a better understanding of the body's form and the creation of works that are incredibly natural, such as Lea Colie Wight's drawing, Kate , conte on paper, 17 x 23
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  • 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
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  • 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
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  • Love to draw? Love to surf the internet? Then check out Drawing magazine's new Facebook page —featuring artists, tips on drawing basics, unique educational opportunities, and exclusive news about the magazine and the fast-paced world of drawing
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  • The grapes establish dominance in an otherwise bland still life painting setup. Your still life! By following a few key guidelines when creating still life painting setups, you will be on your way to creating successful, dynamic paintings that really
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  • 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
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  • 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
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  • Orange and Holly by Alan Bateman, acrylic painting. Alan also won our Move Over Hallmark! Holiday Card contest . It's the time of year for decorated garlands, ribbons and bows, and cheery lights, all of which have me in a festive mood to create a
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  • There are so many significant milestones that an artist can mark his or her career by, but the one that is most exciting for me is the possibility of drawing people and capturing their likeness, whether it is a certain gesture they have or just the interesting
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  • A photo of the cast I am drawing. My drawing, in progress. You may remember that in the fall of this year, I discussed Darren Kingsley's class and his comment that we would be working for many weeks on our drawing of a facial feature in his class
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  • Figure drawing by Judith St. Ledger-Roty, charcoal drawing, 2011. I have been taking a figure drawing class that focuses on doing a comparatively long figure pose, working in charcoal. (We do one minute, five minute, and ten minute drawings, too, so 'long'
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  • 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
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  • In this issue we start the new year with the delicate but bold paintings of Law Wai Hin, whose landscapes, still lifes, and floral paintings combine Eastern and Western sensibilities to create a personal vision.
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  • Last time we discussed the idea of switching up art practice techniques . The concept was that, while repetition builds skills, change keeps the mind sharp and the work lively. I've been thinking about ways I personally switch up techniques. The first
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  • 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
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  • This is a blog about drawing people from one of my favorite co-workers, Cate, the online editor of Cloth Paper Scissors . Enjoy! Proportion is key to life drawing. When I was a kid growing up in Michigan, I was privileged to take classes at Cranbrook
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  • 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
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  • In honor of 2012, this issue offers a survey of 12 new or unknown artists, based on the recommendations of respected art professionals. We also feature our art materials buying guide, with shopping tips for all your studio needs.
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  • 5 Step-by-Step Demonstrations Show You How to Capture The Movement of Water, Create Vibrant, Dense Washes, and Collaborate with Other Artists; Create a Figure in 30 Seconds
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  • Am I built like Jason Statham? Hell no! But a parallel approach to art practice has helped me when I make pictures of guys who are. I find it useful to phrase the ongoing practice of painting and drawing in exercise metaphors. Whatever your daily practice
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  • 25 Skilled Artists Teach Their Best Techniques; Step-by-Step Lessons & Lists of Materials; How to Paint Floral Still Lifes With Skill & Understanding
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  • In this issue, Kenneth J. Procter discusses his work in the medium of powdered charcoal and looks at his own evolution as an artist. The issue also features a special section on portraiture, a subject with great expressive potential despite the restrictions portrait artists sometimes must work under
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  • My early charcoal drawing. The charcoal drawing using the Studio's method. Once again, time for me to go back to school at Studio Incamminati . In preparing for classes, I have been reviewing my last year's drawings again. I am reminded of something
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  • Looking at Leonardo da Vinci's sketch of birds I imagine how the artist likely thought about more than just the birds themselves. He would have been caught up in ideas of flight and soaring in air. That's the power of a sketch. It can transport
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • For this brush and ink drawing, I applied what I learned from da Vinci, but moved in my own direction. Sad is the disciple who does not advance his master. --Leonardo da Vinci Maybe you remember--in my earlier post when I recommended that you choose a
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  • 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
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  • 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
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  • 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
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  • Get instant improvement on your portraits, landscapes, and still life’s from master teachers.
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  • 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
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  • 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
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  • 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
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  • 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
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  • Quang Ho at his easel. Quang Ho: Weekend With the Masters Instructor Quang Ho was born on April 30, 1963, in Hue, Vietnam. He immigrated to the United States in 1975 and is now a U.S. citizen. His artistic interest began at the early age of 3 and continued
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • It's always with a bit of anxiety that I do a pencil drawing. I want the form to look as if the paper doesn't exist--as if the image is coming right off the page, and that is a challenging task. I caught Scott Waddell's second installment
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  • 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.
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  • 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
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  • On the Cover: Belle (detail, reversed) by Galina Perova, 2007, oil, 50 x 44. Private collection. FEATURES Rosemarie Beck: Exploring the Physicality of Paint by Eric Sutphin This New York artist used themes from mythology, music, and literature as ways
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  • 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
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  • On the Cover: Wet Hair (detail, reversed) by Jonathan J. Ahn, 2009, charcoal, 24 x 18. Collection the artist. FEATURES Choosing the Right Drawing Paper by Karen Meyer-Berthel The many differences between drawing papers can be so subtle that it is not
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  • Experiment with Acrylic; Learn from the Masters: Hawthorne, Hensche & Sargent show you how to become A better artist; Drawing from Life; Combine Media in Deep & Meaningful Still Lifes
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  • Hundreds of artists submitted their artwork to this year’s Watercolor cover competition, and determining a winner was quite challenging. After carefully reviewing all the entries, the editors of Watercolor chose nine finalists, and we’re pleased to announce that Teri Starkweather is this
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  • For all you landscape painters, collectors, and connoisseurs out there who happen to have a half million or more lying around, I wanted to tell you about some of the amazing landscape work for sale in the “Important American Paintings, Drawings and Sculptures” auction opening today at Christie’s
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  • 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
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  • 25 Skilled ArtistsTeach Their Best Techniques; Step-by-Step Lessons & Lists of Materials; How to Paint Floral Still Lifes With Skill & Understanding
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  • Special Report: "Green" Products for Artists; Use the Right Practices to Paint Better; Paint Classical Themes in a Contemporary Context; How to Judge Values Accurately.
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  • On the Cover: Let Me Out (detail) by Catherine P. O’Neill, 2008, watercolor, 18 x 22. Collection the artist. Stephen Scott Young: A Modern Master Explores New Subjects & Techniques Thinking More, Painting Less DEPARTMENTS Editor's Note Contributors
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  • 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
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  • Hillside of Poppies 2008, oil, 24 x 30. I have a few suggestions to offer for this painting. The artist may want to consider showing some cast shadows across the path. These shadows would have the same direction as the shadows of the trees, bushes, and
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  • 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
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  • Portrait of an Old Man by Roger Burch, 2009, oil on linen, 20 x 16. The artist of this painting may want to consider lightening the irises of the eyes—especially the man’s right eye, since it is farther away from the viewer. Some edges of
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  • 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
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  • 1000+ Great Workshops & Art Classes Our 47th Annual Directory; Be Guided By Your Artistic Voice; Combine & Enhance Images With Acrylic Paints & Mediums; Interpret Reality With Colored Pencils
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  • Ramona by Tony Ryder, 1995, graphite, 24 x 18. Private collection. My father has been in the construction industry for nearly 40 years. When I was younger, one of my favorite things to do was visit him on the job site before a building was finished and
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  • On the Cover: Winter Glow (detail) by Neal Hughes, 2008, oil, 16 x 20. Collection Dr. Pat White. Blending Traditions of Still Life Painting Representation & Invention in Watercolor DEPARTMENTS Editor’s Note Letters What’s New at artistdaily
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  • I recently met an artist who said, completely nonchalantly, “I never sketch, I never throw out a painting, and I’m always pleased with my final work.” If only we could all be so lucky! Sometimes when I’m writing a drawing basics
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  • On the Cover: Breakfast Club (detail) by Gordon France, 2004, watercolor, 20 x 28. Private collection. Artist to Artist: Dean Mitchell Modern Masters: Jan Kunz DEPARTMENTS Editor's Note Contributors Noteworthy FEATURES Weekend With the Masters Review
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  • ‘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
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  • Several of the masters gathered together for a photo during the Saturday evening “Encouraging the Mastersof Tomorrow” silent auction and reception. From left to right: American Artist editor-in-chief M. Stephen Doherty, Joseph McGurl, Kevin
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  • Welsh Landscape by Patti DeWitt, 2007, oil, 16 x 20. A common challenge in painting summer landscapes is that there is usually so much green. In these cases artists can take lots of “artistic license” and have fun mixing lots of different
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  • Joe Gyurcsak explaining his palette to a workshop class. I fancy myself to be a halfway-decent cook, although undoubtedly an amateur. I often find that the best way to unwind after a long day is to put my thoughts aside and create a meal for my family
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  • Mountain by Michele A. Congdon, 2008, watercolor, 18 x 22. Three things would help this painting. First, the artist can vary the softness and hardness of edges. Edges in the distance can be made softer, even losing some into the sky. Second, the artist
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  • Sofie by Nora Velastegui Pettersson, 2004, watercolor, 22 x 18. The artist has created an engaging portrait of a young woman. I especially like the simplicity of the nose and the mouth. The forehead has a great sense of roundness. Parts of the hair could
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  • 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
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  • If you are one of Daniel James Keys’ 463 friends on Facebook, you’ve noticed that he used the cover of the July/August issue of American Artist as his avatar, the small image that appears when he posts a comment or news of his professional
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  • Mountain Stream by Mary Ann Stafford, 2008, pastel, 18 x 24. The rocks and water in the foreground are very effective. I would like to have more of an impression that the water on the back waterfall is moving toward the viewer and connecting with the
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  • Check out what's featured in the December 2009 issue of American Artist .
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  • By subtly layering pastel, Marlene Wiedenbaum creates a luscious and convincing sense of the world.
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  • Roses and Delphiniums by Janet Walsh, 2009, watercolor, 201⁄2 x 16. Janet Walsh recently stopped by our New York office to deliver a new set of watercolor paintings to be photographed for her next article in Watercolor magazine. The images will
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  • Jealous Much? by Sheri Crawford, 2008, oil on Masonite, 16 x 20. Bravo! This painting is strong in both concept and execution. It really does not need any “fixing.” A good exercise in this case is to consider alternate ideas for a piece. Another
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  • Check out what's featured in the Fall 2009 issue of Drawing magazine.
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  • 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
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  • Joseph McGurl teaching a class at Weekend With the Masters. I’ve never talked to as many excited artists as I did during American Artist’s Weekend With the Masters, an event that took place from September 9 through 13 at the Colorado Springs
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  • 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.
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  • 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.
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  • Check out what's featured in the Fall 2009 issue of Watercolor .
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  • 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
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  • When building his studio, Christopher Pierce looked nearby for inspiration from an American master.
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  • I frequently commission articles on exceptional artists who sell their original artwork through outdoor shows. I do that for two particular reasons: One is that those artists are, of necessity, well organized and able to deliver requested photographs
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  • Check out what's featured in the October 2009 issue of American Artist.
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  • 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.
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  • 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
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  • Our critic offers her suggestions for this portrait of an old man.
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  • While thumbing through Burne Hogarth's Dynamic Anatomy the other day, I came across an interesting section on foreshortening that I wanted to share ...
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  • Catherine Murphy’s provocative and tense graphite drawings defy category, leaving the viewer wondering if she is tightly rendering abstraction or abstracting realism.
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  • 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
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  • 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...
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  • Find out about American Artist's Reader Advisory Panel.
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  • Our critic discuses the importance of texture when portraying the mass of the land against the sky.
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  • Last week we talked about sparsely marked drawings, so it only makes sense that today we consider drawings in which nearly every area is marked.
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  • The Table of Contents for the September 2009 issue of American Artist .
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  • 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.
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  • Dawn Whitelaw discusses highlights while looking at this charcoal drawing.
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  • I caught the Whistler exhibition at The Frick last week and was initially concerned about its size — it hangs in that smallish room in between the place where you pay admission and the hallway to the restrooms — but I suppose at some point
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  • Drawing in ink can force an artist to either slow down and make very careful marks, or do the opposite--to ignore the permanence of the marks and make them freely. What does pen-and-ink do for you? Let us know by posting a comment.
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  • As Steve Doherty pointed out in a recent blog post, it's quite helpful to depict the same scene twice. I find this is very true in drawing, for several reasons ...
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  • Drawing Day 2009 was such a popular event on the American Artist website that we decided to have regular, themed drawing days for our readers. The first one is scheduled for July 4. Draw something that represents why you love your house, your land, your state, your country, your world. Draw something
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  • Digital art isn't new. But when a friend told me that people are now creating art on their iPhones, I imagined that the art wouldn't be anything remarkable. Then David Kassan emailed me an example that he said he sketched very quickly from previous studies.
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  • 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
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  • Steve Doherty offers his suggestions for ways artists can increase the probability that their drawings and paintings will express their passion.
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  • We're pretty passionate about drawing at the magazine, so it's nice to come across other people who are as dedicated to draftsmanship and expressive drawing as we are. The folks at the Drawing Day project certainly fall into this category. For the second year, Mick Gow and his staff are urging
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  • Steve Doherty offers pieces of advice he's heard from dealers and artists on how best to help sell artwork.
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  • The Table of Contents for the Summer 2009 issue of Watercolor magazine.
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  • 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.
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  • Our critic looks at an impressive self-portrait drawn by a high-school student.
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  • The Table of Contents for the July/August 2009 issue of American Artist.
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  • 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
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  • Steve Doherty offers readers six tips on how to draw anything accurately.
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  • 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.
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  • Our critic looks at a painting that includes extreme high contrast and simple shapes and offers recommendations on the painting’s lighting.
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  • It's always a good time to visit The Frick, especially this summer, when people in New York will get a chance to see the exhibition "Portraits, Pastels, Prints: Whistler in The Frick Collection," a gathering of the museum's Whistlers, spanning three media.
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  • Steve Doherty relays some of the advice Jack Beal and other knowledgeable art teachers offer their students on the subject of composition.
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  • The Table of Contents for the Summer 2009 issue of Workshop magazine.
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  • "Bodies ... The Exhibition," currently housed in New York City's South Street Seaport, offers draftsmen the chance to draw from human specimens after hours. It's an opportunity New York City area artists shouldn't miss.
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  • Here are a few basic concepts of artistic perspective you absolutely need to know, whether your intentions are expressive or realist-minded.
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  • Sure, we have our favorites, even if we aren't supposed to. Here are 10 of the best articles published in Drawing magazine over the last seven years, in no particular order.
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  • We surf the web for interesting new drawings and random information on art so you don't have to. April 28 edition.
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  • One reason people pursue pencil drawing is that they like the drama and look of black-and-white images. Drawing magazine is a great place to see the best of what artists working in black and white are doing. Two examples are within...
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  • 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
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  • The table of contents for the June 2009 issue of American Artist.
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  • Dawn Whitelaw looks at an oil portait and suggests careful consideration for the value in the background to help showcase the strong elements of the painting.
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  • What facial feature do you find to be the best indicator of a sitter's likeness?
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  • A look at the Bargue plates, a series of 197 lithographs that guide an art student through an increasingly difficult course of study.
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  • Dawn Whitelaw recomends simplifying the background to call more attention to the subject of the painting.
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  • The doom-and-gloom talk prompted by the recession has squashed sales in galleries. So why was the recent opening of a young realist's show such a success?
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  • Get instant improvement on your portraits, landscapes, and still life’s from master teachers.
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  • Steve Doherty talks about a young California artist he discovered while browsing the American Artist member's gallery.
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  • The Table of Contents from the May 2009 issue of American Artist .
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  • Colin J. Callahan discuses the influence of Dutch still life painters on this particular artist's work, and suggest further exploration of the masters to help with painting still lifes.
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  • We surf the web for interesting new drawings and random information on art so you don't have to. March 24 edition:
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  • In this passage, which we had to cut from the print article in our Spring 2009 issue of Drawing for space reasons, artist-instructor Dan Gheno explains how visualizing the arc that body parts move through will help you place the joints in the right location, ensuring proper proportions.
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  • 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
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  • The Table of Contents for the Spring 2009 issue of Watercolor magazine.
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  • Artist and teacher Mel Stabin recommends painting loosely and boldly, an approach that has defined his career.
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  • A simple floral arrangement can be the perfect subject for beginner still lifes.
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  • What inspired you to first pick up a pencil? For some it was first seeing an Audubon print. Others may have fallen in love with the anime film Akira. Maybe it was Superman.
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  • In this passage, which we had to cut from the print article in our Spring 2009 issue of Drawing for space reasons, artist-instructor Dan Gheno explains how the tanned portions of a nude model seem to stand out and push forward, and he reiterates the value of studying individual body parts.
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  • Q : I've been mostly a casual drawer, so I’ve stuck mainly to drawing the human figure. Now that I'm looking into pursuing a career in art, I need to improve my skills in sketching backgrounds. Is there a good online tutorial or a book that
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  • 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
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  • The Table of Contents for the April 2009 issue of American Artist magazine.
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  • The table of contents from the Spring 2009 issue of Workshop magazine.
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  • 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
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  • The NOAPS recently held its 18th annual national exhibition. Here we present some of the event's award winners.
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  • Dawn Whitelaw explains how establishing a sense of depth is essential to a successful composition.
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  • Here's a sneak preview of an upcoming feature in Drawing magazine: the lively, colorful figure drawings of NYC artist Fred Hatt.
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  • Be careful not to paint portrait backgrounds a shade that is similar to a dominant color in the figure.
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  • We've all seen Leonardo da Vinci's famous drawing The Vitruvian Man. But have you read the text he wrote to accompany it? Artist and scholar Anthony Panzera presents Morris Hicky Morgan's translation of Leonardo's notes on the diagram on human proportion, along with his Panzera's
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  • Pietro Annigoni was a great draftsman, portraitist, and teacher. We haven't been able to put a feature article together on him, but here are a few examples of this inspirational artist's work, and a bit of biographical information as well. Who else do you think has been needlessly neglected in
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  • 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.
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  • Steve Doherty discusses artists' work spaces and ask readers for their suggestions on how to best utilize your space.
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  • In this critique, Dawn Whitelaw discusses the importance of silhouette.
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  • 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
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  • Steve Doherty discusses the social aspects of watermedia painting and the proliferation of watermedia organizations.
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  • Dawn Whitelaw discusses proper technique when working with chalk and charcoal.
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  • B&W #6 , 2000, oil drawing on paper, 12" x 9" by Lisa Dinhofer An artist I interviewed recently, Lisa Dinhofer, said that being a good draftsman isn't enough. She said putting the emphasis on the objects in your scene is risky if it
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  • This time of year puts the focus on family, and at the center of the family is the special relationship between mother and child. Thanks in part to the powerful patronage of the Roman Catholic Church, there are thousands of pencil sketches and preparatory
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  • Michael Mentler's pencil drawings from his sketchbook. David Jon Kassan, a friend and an excellent painter and draftsman here in NYC, recently sent me these words about an artist he met during his travels. Here are some images from the artist's
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  • Dawn Whitelaw suggests "calibrating the lights" to strengthen the overall composition of this painting.
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  • Above, a selection of sketchbooks from Kunst & Papier, Palo Alto, California. About two weeks ago I opened up a discussion regarding the best pencil for drawing. Now I'm interested in the best sketchbook. Although I had an opinion about the best
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  • A friend recently asked how to get into a routine of drawing, and I shared with her my methods of finding the time in a busy schedule to keep progressing in my pursuit of better draftsmanship. I draw from a live model one night a week; when my schedule
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  • Recently, two new drawing books caught my eye. I hope to review one or both in an upcoming issue of Drawing , but for those of you who need holiday gift ideas for the draftsman on your list RIGHT NOW, here's a sneak preview. Understanding Architecture
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  • Occhuzzie Paint Company, a small manufacturer based in Charlotte, North Carolina, unveiled two new pigments at the Savannah College of Art & Design's Art Materials Show, held at the beginning of October. One featured ground graphite suspended
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  • During the course of my work with Drawing magazine, I occasionally get to visit with Anthony Panzera, an excellent draftsman and teacher at Hunter College, on New York's Upper East Side. He is a man of dignity and warmth, and I enjoy chatting with
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  • The Fine Arts Museum of San Francisco’s Legion of Honor hosted this exhibition of work by master artist Leonardo da Vinci. Figural Sketches by Leonardo da Vinci ca. 1505, pen and black ink drawing with traces of black chalk on paper. Collection
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  • 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
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  • Learn to draw the cube and you have a good introduction to basic perspective and drawing essentials , plus the cube is one of the geometric building blocks of all objects—including the human figure. The Three Graces by Jon deMartin, 2002, burnt
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  • I'm excited that we've started a new series in Drawing magazine around drawing basics , authored by noted artist Jon deMartin. We'd been puzzling for some time on how to offer more basic instruction to beginners while simultaneously making
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  • An artist recently included me in an e-mail blast in which he complained about the way major museums favor “Modern Art” over representational paintings by the likes of Sargent and Rembrandt. He said it “kills my soul … and I know
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  • Drawing is arguably the oldest form of visual art, but despite its long history, it still has the power to surprise. For example, the simple graphite pencil has been around for more than 200 years, but artists continue to find new methods of working with
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  • 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
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  • 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
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  • Arranging the objects in a still life painting can be as challenging—and enjoyable—as painting the subject matter. Here we offer advice from several still life painters on how to create a visually stimulating setup. Blackware, Papaya, and
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  • When Chris Krupinski made the transition from oil to watercolor painting, she refused to sacrifice her love of detail and bold, rich color. A Glass of Cherries 2004, watercolor, 30 x 22. All artwork this article collection the artist. by Naomi Ekperigin
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  • Master landscape colorist Kevin Macpherson is a plein air impressionist who is passionate about sharing his skills with other artists through informative workshops, books, and DVDs. Here, he answers questions regarding his training, his technique, and
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  • 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
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  • 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
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  • The Irvine Museum's spring 2008 show keeps with their annual tradition of featuring artwork that highlights the outstanding display of wildflowers that once characterized spring in California. Abundance of Color: California Flowers in Art Through
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • Working with a complementary palette can lead to harmonious paintings and the creation of clear, vibrant colors. By Naomi Ekperigin Still Life of Egg and Glass, by Jacob Stevens, 2007, oil on board, 24 x 18. Private collection. For many artists, choosing
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  • Anthony Panzera comments on Antonio López García's Portrait of Maria . by Anthony Panzera Portrait of Maria by Antonio López García, 1972, graphite drawing, 28 x 21. Collection the artist. I first saw this drawing some
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  • An exhibition at The J. Paul Getty Museum, in Los Angeles, explores the way various master draftsmen used drawing to comment on society, often revealing their inner thoughts in the process. Caricature of a Man With Bushy Hair by Leonardo da Vinci, ca
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  • Janet Monafo once tossed objects onto her studio floor in an attempt to paint a more random arrangement with pastels. “I really wanted to accept whatever happened, but in the end I couldn’t resist my need to carefully organize the shapes and
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  • The Metropolitan Museum of Art, in New York City, marked the renovation and reopening of the Robert Lehman Wing with an exhibition of 60 drawings by Venetian master Giovanni Battista Tiepolo and his son, Giovanni Domenico Tiepolo. Tiepolo Drawings From
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  • Anthony Panzera comments on Leonardo da Vinci's Head of the Virgin in Three-Quarter View Facing to the Right. by Anthony Panzera Head of the Virgin in Three-Quarter View Facing to the Right by Leonardo da Vinci, ca. 1510, soft black and red chalk
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  • In the summer 2008 issue of Drawing magazine, we discussed how Omaha artist Kent Bellows was a masterful draftsman who took the time to contemplate a vision and complete works that would endure past his untimely death. We offer more examples of his pencil
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  • David Jon Kassan discusses Sam Ivie's Cellini Revisited. Cellini Revisited by Sam Ivie, 2000, colored pencil drawing, 8 x 10. Collection the artist. Looking at Drawings: Cellini Revisited by Sam Ivie by David Jon Kassan In this small colored pencil
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  • 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
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  • Anthony Panzera comments on William-Adolphe Bouguereau's A Girl in Peasant Costume, Seated, Arms Folded, Holding a Ball of Wool and Knitting Needles in her Right Hand. A Girl in Peasant Costume, Seated, Arms Folded, Holding a Ball of Wool and Knitting
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  • 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
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  • David Kassan comments on Katherine Sammons' My Mother . My Mother by Katherine Sammons, 2007, charcoal drawing, 14 x 18. by David Jon Kassan This piece is both a portrait of the artist's mother and a metaphor for the balance of opposites--light
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  • David Kassan comments on Kitty Teerling's Louisa and Connie. Connie by Kitty Teerling, 2007, pencil drawing, 4½ x 5½. Louisa by Kitty Teerling, 2007, pencil drawing, 4 x 5. by David Jon Kassan These portrait drawings by Kitty Teerling
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  • Owen Gray comments on Peter Paul Rubens' Hercules and Minerva Fighting Mars. Hercules and Minerva Fighting Mars by Peter Paul Rubens, ca. 1632-1640, gouache and brush over brown ink over preliminary drawing in black chalk on light brown paper, 14
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  • David Jon Kassan comments on Burton Silverman's drawing, Demonstrator. Demonstrator by Burton Silverman, 1968, charcoal drawing. by David Jon Kassan This charcoal drawing by Burton Silverman represents one of the many conceptual approaches the artist
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  • 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
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  • Artists Carl and Sandra Bryant use tiny pieces of glass to create intricate mosaic works of art. by Stephanie Kaplan Autumn Landscape by Sandra Bryant, 2006, glass mosaic, 24 x 32. Collection the artist. Mosaic Landscape by Sandra Bryant, 2005, glass
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  • 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
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  • For this Massachusetts artist, water is both her subject and her medium. Iceberg From Our Zodiac, Antarctica No. 2 2005, watercolor, 24 x 36. All artwork this article collection the artist, unless otherwise indicated. by Naomi Ekperigin The majority of
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  • 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
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  • 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
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  • This Nebraska artist went from scientific illustration to still lifes and figures that enable him to examine life in a new way. Cranberries 2008, oil, 24 x 16. Collection the artist. by Naomi Ekperigin Mark Marcuson is an equal-opportunity artist. Having
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  • 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
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  • 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
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  • Ephraim Rubenstein discusses Michelangelo's The Risen Christ and The Resurrection of Christ. by Ephraim Rubenstein The Risen Christ by Michelangelo, ca. 1513, black chalk drawing, 16 x 10. Collection the British Museum, London, England. The Resurrection
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  • 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
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  • 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
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  • Ohio artist J. Todd Anderson took his talent for drawing to Hollywood and, as a storyboard artist, became part of the award-winning Coen Brothers movie-making team, creating the storyboards for such movies as Raising Arizona and No Country for Old Men
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  • About 25% of the human body's bones are in the foot, a vitally important structure for a biped. Here's a drawing tutorial about what draftsmen need to know to draw the foot and depict its function convincingly. by David Jon Kassan Bone Outstep
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  • 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
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  • In her colored pencil and graphite drawings, Dee Overly invites viewers to admire the unique details of natural objects. by Lynne Moss Perricelli Raindrops 2007, colored pencil drawing, 8½ x 7. This piece won second place in American Artist’s
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  • Here are some ways to give depth to your drawings. by Bob Bahr A Grove of Pine Trees With a Ruined Tower by Claude Lorrain, 1638â??1639, pen and brown ink with brown, gray, and pink wash on white paper, 12â? x 8¾. Collection
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  • David Jon Kassan discusses Käthe Kollwitz's Self-Portrait. Self-Portrait By Käthe Kollwitz, 1924, lithograph drawing. by David Jon Kassan This drawing exemplifies the term that less is more. This is a straightforward, austere pencil sketch
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  • David Jon Kassan comments on Michelangelo's Male Nude . Male Nude by Michelangelo Buonarroti, ca.1504, black chalk drawing heightened with lead white, 16 x 9. Collection Teylers Museum, Haarlem, the Netherlands. Looking at Drawings: "Male Nude
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  • David Jon Kassan discusses Nicolai Fechin's Manuelita. Manuelita by Nicolai Fechin, ca. 1930, charcoal drawing on off-white paper. by David Jon Kassan This drawing by Nicolai Fechin likely served as a study for a painting and is a great observation
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  • 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
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  • 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
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  • Arlene Steinberg develops her detailed colored pencil drawings in much the same way as an oil painter would proceed. She carefully determines a composition, builds from dark shadows to bright highlights, and underpaints complementary colors to enrich
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  • David Jon Kassan discusses Costa Vavagiakis' Connie XXI . Connie XXI by Costa Vavagiakis, 2005, graphite and white chalk drawing on gray paper, 16½ x 11½. by David Jon Kassan This drawing by Costa Vavagiakis was done with graphite heightened
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  • David Jon Kassan discusses Jean-Baptist Greuze's Study of the Head of an Old Man. Study of the Head of an Old Man by Jean-Baptiste Greuze, ca. 1765, red chalk, 15? x 12?. Collection J. Paul Getty Museum, Los Angeles, California. Looking at Drawings
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  • In the summer 2008 issue of Watercolor magazine, we discussed how Angela Bradburn experimented with new approaches since the beginning of her career. We offer more of her watercolors in this online exclusive gallery. Blue Ridge Blueberries 2003, watercolor
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  • In the spring 2008 issue of Drawing magazine, we explored how the Pennsylvania Academy of the Fine Arts puts students on the path to become artists, teaching them drawing basics and then taking them beyond. In this online exclusive gallery, we offer more
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  • In the spring 2008 issue of Drawing magazine, we discussed how Maine artist Janvier Rollande found that a bit of herself always came through in her pencil drawings of others. We offer more of her graphite portraits in this online exclusive gallery. Tapestry
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  • In this online exclusive, read more about the history of the Pennsylvania Academy of the Fine Arts as a supplement to the spring 2008 Drawing magazine feature article. by Tina Tammaro In 1791 artist Charles Willson Peale began to gather a group of prominent
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  • In this online exclusive gallery, we offer more colored pencil drawings by spring 2008 featured artist Dee Overly. Hiding 2006, colored pencil, 7 x 6. Collection Cathy Barry. Rain Beads 2007, colored pencil, 8½ x 7. Collection the artist. Peaches
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  • 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
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  • 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
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  • 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
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  • This Illinois-based artist has a degree in animation but found her true calling was painting portraits and still lifes in oil. by Naomi Ekperigin Hurricane Lamp With Candle 2006, oil, 9 x 12. Collection the artist. Lindsey Tull is a young artist who has
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  • 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
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  • 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
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  • 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
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  • David Jon Kassan comments on George Bellows' A Stag at Sharkey's. A Stag at Sharkey’s by George Bellows, 1917, lithograph, 18½ x 23. This lithograph drawing by George Bellows was based on an earlier painting of the same name done
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  • 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
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  • A look at the anatomical structure of the neck, and some helpful figure drawing tips from Drawing magazine's Understanding Anatomy series. Read other features in the Understanding Anatomy series: Drawing the Leg Drawing the Ear Drawing the Arm by
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  • 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
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  • In the May 2008 issue of American Artist, we explored how Arlene Steinberg developed her detailed colored pencil drawings in much the same way as an oil painter would proceed. We present more of her drawings in this online exclusive gallery. All Paired
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  • David Jon Kassan discusses John Singer Sargent's Male Back . Male Back by John Singer Sargent, charcoal drawing. Drawn between 1890-1915. by David Jon Kassan While most artists will rely on how light describes form in their figure drawings , John
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  • Twenty-five architectural drawings created by Richard Morris Hunt between 1847 and 1863 were on display at the National Academy Museum . Hunt, often referred to as "the dean of American architecture," was the first American to study architecture
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  • An artist's handling of edges is one of the drawing basics and of great importance if a drawing is to be convincing. Tartar Huntsman by Peter Paul Rubens, ca. 1616, black chalk heightened with white, 15 1/16 x 10 9/16. Collection The Fizwilliam Museum
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  • In this online exclusive gallery, view more examples of Philip Pearlstein's work that highlight the draftsmanship and drawing skills described in his winter 2008 Drawing feature. Jerusalem, Kidron Valley 1987-88, woodcut, 40 x 119. Collection the
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  • David Jon Kassan comments on Dan Thompson's Study for Mirror (I against I) . Study for Mirror (I Against I) by Dan Thompson, graphite. Collection unknown. This served as a study for a self-portrait. Looking at Drawings: "Study for Mirror (I Against
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  • 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
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  • 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
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  • 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
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  • This New York artist discovers many of his breakthroughs through drawings, depicting strictly what he sees with little thought for accepted standards of draftsmanship. by John A. Parks Study for Eroded Cliff 1955, sepia wash on paper, 18¾ x 23
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  • Throughout his long career, Henry Casselli has looked to drawings to clarify his impressions and better understand his subject. To read more features like this, subscribe to Drawing today! by Lynne Moss Perricelli Study for Sparring Partner 2005, graphite
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  • In the winter 2008 issue of Drawing magazine, we discussed how Anthony Mitri and Mary Reilly, who work in charcoal and graphite respectively, mastered the drawing essentials to develop a personal vision and unique style through their drawings of New York
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  • by John Rutherford Exhausted Surgeon 2002, Conté and acrylic, 17 x 21. All artwork this article collection the artist. My approach to figure drawing allows me to work quickly in establishing both the linear outlines of the model’s form and
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  • The pencil manufacturer Caran d’Ache agreed to share their pencil-making process with Drawing readers through the following photographs, so that artists are informed about their materials and can use them when solidifying their mastery of all drawing
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  • 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
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  • For this new feature, we've asked artists to comment on some of their favorite drawings. In this first edition, David Jon Kassan comments on Head Study of a Young Girl by John H. VanderPoel. Head Study of a Young Girl by John H. VanderPoel, 1903,
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  • Combining close observation with an intuitive approach, Joyce Washor creates tiny paintings with big impact. To read more features like this, subscribe to Watercolor today! by Tina Tammaro My Cup Runneth Over III 2007, watercolor, 4¾ x 3¾
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • We present the semifinalists in the acrylic category. by Karen Stanger Johnston First Place: Amy Guidry Out for a Run by Amy Guidry, 2006, acrylic, 20 x 24. Courtesy Jenkins Connelly Gallery, New Orleans, Louisiana. "I choose my subjects based on
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  • In the winter 2008 issue of Drawing magazine, we discussed how New York City artist Julia Randall's colored pencil drawings incorporated depictions of her mouth. We present more of her voyeuristic, suggestive, slightly grotesque, and humorous drawings
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  • This French master teaches us much about contours, portraiture, and how to draw people. by Mark G. Mitchell Portrait of Charles- François Mallet 1809, graphite, 10 9/16 x 8 5/16. Collection The Art Institute of Chicago, Chicago, Illinois. So that’s
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  • 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
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  • With limited time to paint, pastelist Dave Stout has learned to pare down his supplies and develop an efficient and effective working method. Like what you read? Become an American Artist subscriber today! by Linda S. Price Back to the Clouds 2006, pastel
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  • 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
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  • In the winter 2008 issue of Drawing magazine, we explored how Henry Casselli has looked to drawings to clarify his impressions and better understand his subject throughout his long career. Here, we offer more of his portrait drawings in this online exclusive
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  • A more finished drawing is possible when a model poses for an extended amount of time, but this luxury comes with particular challenges. Identifying and preparing for the potential pitfalls will improve your figure drawing . To read more features like
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  • In the fall 2007 issue of Drawing magazine, we highlighted the Bay Area Classical Artist Atelier as one of the most regarded classical contemporary schools in the country, offering students traditional figure-drawing training from today’s top artist
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  • Winter 2008 Watercolor featured artist Joyce Washor combines close observations with an intuitive approach in this still life demonstration of Three Onions (2:18) . Click to Play | View Details
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  • This web-based art program seeks to explore drawing basics as essential modes of education not only in the United Kingdom but all over the world. July 22, 2007, Sunset in Verona at Ponte by Victor Timofeev, 2007, pen-and-ink and graphite, 9½ x
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  • Massachusetts-based artist Barney Levitt creates rich and detailed oil paintings from precariously placed still lifes. by Naomi Ekperigin A Fine Balance 2006, oil on panel, 16 x 19. Collection Garrett Demarest Minnie Smells a Trap 2007, oil, 16 x 20.
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  • Although viewers may first be attracted to the beautiful and romantic subjects of Steve Hanks’ extraordinarily detailed watercolors, they soon become engaged by the expressions of love, loss, and hope conveyed by the images. That’s because
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  • Read the transcript from our online chat with mutimedia artist Fran Hardy. 2007-07-26 12:00:14.0 Administrator: You have joined a chat with Fran Hardy, an artist who transforms her graphite drawings into remarkable multimedia pieces that incorporate sgraffito
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  • 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
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  • The Bernarducci Meisel Gallery, in New York City, presents this third solo exhibition of still life paintings by Roberto Bernardi. Roberto Bernardi: New Still Life Paintings Through December 1 Bernarducci Meisel Gallery New York, New York (212) 593-3757
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  • by Bob Bahr Head of the Virgin in Three-Quarter View Facing to the Right by Leonardo da Vinci, 1508–1512, black and red chalk on paper, 8 x 6?. Collection The Metropolitan Museum of Art, New York, New York. Leonardo filled the sheet with the subject’s
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  • In the June 2007 issue of American Artist, we discussed how the large charcoal drawings that Montana artist David C. Powers creates on toned pano Artistico hot-pressed watercolor paper are inspired by the feelings of danger, freedom, solitude, and the
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  • In the winter 2008 issue of Watercolor, we discussed how Stephanie Anderson’s paintings were as fresh-looking as the subject matter, thanks to her fast, decisive technique and skilled handling of paints, brush, and paper. Here, we showcase more
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  • In the winter 2007 issue of Watercolor , we explored Yachiyo Beck's exquisite and unique still lifes. Here, we offer more of her watercolors including a variety of landscape paintings. Teal Blue Vase With a Peach 2006, watercolor, 14½ x 8½
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  • By employing a most unusual form of contrast, Yachiyo Beck has found a way to create still lifes with a distinctly personal flavor. by Jennifer King Afternoon Apples 2005, watercolor, 18 x 28. Collection the artist. If one of her paintings looked like
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  • 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
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  • Two masters of still life painting have much to teach us about developing our paintings. by Joseph Gyurcsak Ochre & Blue Gray 2007, oil, 12 x 16. Collection the artist. Two of the most admired masters of still life painting are the Italian artist
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  • 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
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  • Hackett Freedman Gallery presents this exhibition of recent still life paintings by Northern California artist David Ligare. David Ligare: Aparchai Through October 27 Hackett Freedman Gallery San Francisco, California (415) 362-7152 An illustrated catalogue
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  • 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
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  • 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
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  • 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
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  • John P. Smolko won the Grand Prize—a new MetroShed, furnished by Blick Art Materials, for use as a stand-alone studio—for his imaginative colored pencil piece, Homage to Klimt (The Virgin). Read more about the artist, and view five online
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  • We present the semifinalists in the drawing category. by Karen Stanger Johnston Study for the Portrait of Autumn by Chusit Wijarnjoragij, 2007, brown and white colored pencil, 25 x 19. First Place: Chusit Wijarnjoragij For Thailand-born Chusit Wijarnjoragij
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  • 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
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  • 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
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  • We present the semifinalists in the printmaking category. by Karen Stanger Johnston Eulogy for Kreischerville by Bill Murphy, 2006, etching, 11 x 21. Image courtesy The Old Print Shop, New York, New York. Collection Newark Public Library, Newark, New
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  • 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
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  • 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
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  • Primarily an oil painter, Elizabeth O’Reilly makes a point of painting the figure in watercolor, where she stretches her painting skills to solve new kinds of problems. by Lynne Moss Perricelli Large Woman With Umbrella 2006, watercolor, 16¼
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  • Chicago’s School of Representational Art offers a classical art education in a modern world. by Mark G. Mitchell Tartan by Steve Ohlrich, 1999, charcoal and pastel on white paper, 25 x 19. On the top floor of an old factory warehouse in the arts
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  • Faintly draw construction lines to remind yourself of the parts of the form you don't see. by Bob Bahr Contour of a Woman Relaxing by Alex Zwarenstein, 2002, graphite, 20 x 30. All artwork this article collection the artist unless otherwise indicated
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  • 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
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  • 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.
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  • 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
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  • 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
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  • View a demonstration of Slice of Life by Watercolor magazine feature artist Scott Moore (5:06). > Moore process of still life watercolor Click to Play | View Details
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • It is critical for artists of all levels to understand and feel comfortable using linear perspective. by Stephanie Kaplan Understanding linear perspective is important for all artists, beginners included, regardless of their medium or subject matter,
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  • 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,
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  • by Bob Bahr Here are the basic art materials drawing. Drawing Graphite pencils A graphite pencil usually consists of a long, thin cylinder of graphite enclosed in a hexagonal wooden sleeve--the standard pencil. But solid graphite is also available in
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  • 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
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  • Screenprints can have subtle colors and edges, but the most stimulating examples are bold and crisp, as a selection from the Print Research Foundation, in Stamford, Connecticut, shows. by Bob Bahr The Hitchhiker by Robert Gwathmey, 1937–1943, screenprint
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  • Read the transcript from our online chat with top artist-instructor Dan Gheno. If you have more thoughts to share, chat with your peers on Artists' Forum , and check back for more online chats with featured artists. This chat was brought to you by
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  • In the spring 2007 issue of Watercolor magazine, we discussed how Debi Watson improves the quality of her watercolors and catches the attention of exhibition jurors by striving for new subjects and by searching for techniques that get the paints to work
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • The Hackett-Freedman Gallery will present this exhibition of recent work by Guy Diehl, an acrylic artist whose paintings reflect a deep interest in art history, through June 30. Guy Diehl: Recent Paintings Through June 30 Hackett-Freedman Gallery San
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  • Teachers of all grade levels and subjects can use museum resources to enhance their curriculum. by Erica Yonks African Mask 2006, 10th grade, charcoal and pencil. During a unit on the art and history of West Africa, students drew from figure sculptures
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  • This valuable lesson plan explains how to teach high-school students to draw landscapes. by Erica Yonks Green Trees 9th grade student, 2006, colored pencil. Grade Level: 9 Duration: three days Objectives • To depict landscapes with the illusion of
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  • Scott Royston, our December Artist of the Month, paints using a medium he makes himself: powdered pigment mixed with black oil. by Edith Zimmerman Eggs to Dye For 2003, oil on panel, 13 x 18. Scott Royston , our December Artist of the Month, paints using
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  • We offered words of advice about drawing basics from Brian Bomeisler in the winter 2007 issue of Drawing magazine. Here, we present his five global skills of realistic drawing. Bomeisler helped a student correct and adjust the proportions of his self
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  • California artist Alyona Nickelsen uses odorless mineral spirits to dissolve some of the pigment in her colored pencil drawings, eliminating the pencil strokes and creating rich, luminous color. by Lynne Moss Perricelli Sincerely Yours 2006, colored pencil
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  • Read the transcript from our online chat with colored pencil artist Alyona Nickelsen. This chat was brought to you by Legion Paper . 2007-03-08 11:00:27.0 Administrator: You have joined a chat with Alyona Nickelsen, a colored pencil artist featured in
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  • As a supplement to our feature in the winter 2007 issue of Drawing magazine, we offer a more in depth look at Brian Bomeisler's drawing workshop with an extended version of the article, additional images of student work, and more photographs of the
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  • Cast Study—Laocoon 2005, charcoal and white chalk, 26 x 19. Collection the artist. Students attending contemporary art schools modeled after 19th-century academies often spend their first months on the drawing basics and making sight-size copies
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  • In past issues, we explained how to analyze and correctly draw different areas of the body. In this tutorial overview of the figure, we bring it all together. by Dan Gheno Weighted Stasis by Dan Gheno, 2006, colored pencil and white charcoal on toned
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  • Lori Simons explained her techniques for painting watercolor still lifes . by Lori Simons Velvet Red Bouquet 2005, watercolor, 18 x 14. Collection Kent and Meg Ulery. Never be in a hurry when watercolor painting. Make sure you have ample time to complete
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  • The Wichita Art Museum, in Wichita, Kansas, will present this exhibition of work on paper by William Bailey through May 13. William Bailey on Paper Through May 13 Wichita Museum Art Museum Wichita, Kansas (316) 268-4921 The Wichita Art Museum, in Wichita
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  • “The Baird Collection of Early California Paintings” will be on display at the Monterey Museum of Art, in Monterey, California, through April 22. The Baird Collection of Early California Paintings Through April 22 Monterey Museum of Art Monterey
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  • In the November 2006 issue of American Artist , still-life artist Benjamin Shamback explained how an energetic underpainting gave life to his carefully refined oil works on metallic surfaces. In this online exclusive gallery, we offer more still-life
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  • 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
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  • If you know the anatomy of arms, you can use them to express much. by Ephraim Rubenstein Study of Arms 2006, red chalk, 26 x 19. All artwork this article collection the artist unless otherwise indicated. This study shows the major masses of the arm in
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  • 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
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  • 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
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  • We counted the number of times historical figures were referenced or reproduced in the first 10 issues of Drawing and showcased the the most mentioned here, with illuminating comments from two experts. by Bob Bahr It’s possible the greatest drawer
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  • In her acrylic paintings, Emily Cameron Pressly creates comprehensive records of her experiences, emotions, and observations by working from her impression of a subject rather than from direct observation. by M. Stephen Doherty When I paint our garden
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  • 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
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  • 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
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  • by Edith Zimmerman From Hart’s Cartooning series (Watson-Guptill Publications, New York, New York). Anyone interested in the techniques of cartooning has probably heard of Christopher Hart . His instructional books have been read and reread by millions
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  • 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.
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  • 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
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  • Depicting features is only the beginning. Putting life into a head drawing requires assimilating it with the rest of the body, capturing an attitude—and much more. by Dan Gheno Study for the Angel in Madonna of the Rocks by Leonardo, silverpoint
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  • 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
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  • This helpful drawing exercise for drawing faces appeared in the fall 2006 issue of Drawing . If you have trouble seeing and drawing the nose close to the eye when you are drawing a head, be sure to try this exercise. by Dan Gheno Skull From Above by Dan
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  • In the fall 2006 issue of Drawing , we explored the art of drawing realistic heads. Here, we present an excerpt from the article about drawing with light and shadows. by Dan Gheno Study of a Boy With His Hand to His Mouth by Giovanni Battista Tiepolo
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  • In the fall 2006 issue of Drawing , we explored the sometimes daunting task of drawing accurate heads. Here, we suggest one technique from the article that will help you use perspective to better gauge the tilt of the head. by Dan Gheno Stereometric Man
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  • Debbie Cason Rankin explains how drips, puddles, and runs can capture a subject’s emotional state. by James A. Metcalfe Life Is Good 2004, watercolor, 14 x 20. All artwork this article collection the artist. “Hopefully this painting leaves
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  • Pastel artist Diana De Santis has devised an approach that allows her to focus on subjects rather than materials and techniques. by Lynne Moss Perricelli Diana De Santis believes in keeping things simple. Rather than pursuing complicated methods of working
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  • In contrast to his methodical, painstaking technique, G. Daniel Massad takes an intuitive approach to conceiving his pastel still lifes, allowing the imagery to emerge in its own time. by Lynne Moss Perricelli The Way Through 2001, pastel, 161/2 x 16
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  • 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
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  • In the fall 2006 issue of Drawing , we explored John Singer Sargent's brilliant drawings. Here, we offer an excerpt from the article that discusses Sargent's use of light and dark values. by Mark G. Mitchell ”I think the chief characteristic
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  • 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
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  • In the January 2007 issue of American Artist , Ohio artist Linda Wesner depicted American scenes that were quickly disappearing because she felt it was important that the viewer recognized the universal theme of change. We offer 16 more of her colored
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  • In the fall 2006 issue of Drawing , we explained how to draw dynamic heads. We present an excerpt from the article about measuring facial features. by Dan Gheno In my “Portrait Painting” article in the February 1993 issue of American Artist
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  • In the fall 2006 issue of Drawing , we explored how the best lessons in value, light, and form are clearly visible in John Singer Sargent's drawings. We present a excerpt from the article that discusses how he taught drawing classes. by Mark G. Mitchell
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  • In the January 2007 issue of American Artist , we presented the winners and finalists of the 2006 Casein Art Competition. Here, we present more paintings from these fine artists. Canary Stare by Joseph Todorovitch, casein, 24 x 18. Still Life of Sally
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  • What will the 25th anniversary issue of Watercolor magazine look like? The answer could well be determined by the artists in this article who were recommended by teachers who are in contact with some of the most promising watercolorists. We asked those
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  • 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
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  • We recently spotlighted Christopher Hart and his cartooning techniques. Here, we present more images from Hart's Drawing Faeries series (Watson-Guptill, New York, New York).
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  • In the fall 2006 issue of Drawing , we explored how Sigmund Abeles has shown several generations of artists the drawing basics : how to draw with organic lines, logical compositions, and lots of empathy. Here, we present an exerpt from the article about
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  • 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
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  • 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
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  • 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
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  • 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
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  • The work of still-life and figure painter Raymond Han will be the focus of this exhibit at Forum Gallery, in New York City, through October 21, 2006. Raymond Han: Recent Paintings Through October 21, 2006 Forum Gallery New York, New York (212) 355-4545
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  • Chicago artist Tim Lowly communicates compassion and acceptance in his depictions of vulnerable humans. by Joseph C. Skrapits Portrait of K 2006, charcoal on toned museum board, 19 x 141/2. All artwork this article collection the artist unless otherwise
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  • 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
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  • Tonal drawing--the juxtaposition of relative values, the notion of seeing masses rather than outlines--more closely replicates the way humans see than do lines. This emotional way of depicting the world has been explored since Leonardo; modern artists
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  • North Carolina artist Kate Worm uses rollers to apply watercolor and gouache to create breathtakingly bold paintings. by Christopher Willard Brushes are overrated, at least according to Kate Worm. The North Carolina artist frequently uses no brush at
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  • “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
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  • 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
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  • 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
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  • 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
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