What’s the difference between glazing, scumbling and washing for oil painting techniques? Find out in this Ask the Experts from The Artist's Magazine.
Discussing the obscure technique of “dusting” in last week’s blog post got me thinking about some of the other techniques of pastel application frequently used by artists. Due to the nature of pastel as a dry medium applied in a stick form, pastelists have had to learn to marry traditional drawing and wet painting...
The effect of scumbling with white is threefold.
The aging subway emerges from layers of gloriously active watercolor in the watercolor painting of Joan Iaconetti. Follow along with her progressive stages of her piece, The Killer, here.
Johannes Vloothuis explains how to make the most of mixed media when combining pastel and watercolor.
Scumbling (a colored pencil technique) offers control and very smooth, even application where you don’t see any strokes. Learn more in this free article!
If you’ve ever spread frosting on a cake, you have an idea of the textural possibilities when using a painting knife to create an oil painting. Deborah-Quinn Munson explains how you can achieve a variety of effects, from the sweeping strokes to refined details.
The settings that George James creates are familiar and the arrangements are casual—studios, cafes, gardens—all familiar haunts of a painter. In this free excerpt from "Floating and in Flux" by Ruth K. Meyer in the January/February 2012 issue of The Artist's Magazine, James shares his technique in a step-by-step demonstration.
Supple floral arrangements in still lifes, violent waves in seascapes and exotic wildlife in animal art: artists explore endless subjects, but there’s one that continues to dominate over the years: painting portraits. Artists are fascinated with capturing the human face: each wrinkle, dimple and freckle helps to not only identify but also to personify...
Oil painter Peter Fiore demonstrates how to use oil paints on Arches oil paper.
Patricia Traub's work, featured in The Artist's Magazine (September 2013) moved me and left me feeling introspective. I’ll let you read the article for yourself to learn how she “depicts humans as protectors alongside endangered species and unwanted pets,” but until you do, I'd like to share some of her painting and composition techniques.