Colored pencil can create luminous effects and subtle hue shifts. Arlene Steinberg shows how to achieve these with an Icaraus Art heated drawing board.
Feeling mischievous? Ask a group of painters what colors are best for a plein air palette—then sit back and enjoy the show! But, as Michael Chesley Johnson explains, there are some basic considerations when selecting a palette for painting en plein air.
Contemporary realist Ephraim Rubenstein explains how his paintings of abandoned houses act as metaphors for loss and as reminders that life is a constant struggle.
Ephraim Rubenstein's depictions of temple and cathedral ruins combine an eye for dramatic composition with a masterful use of mixed media. "The emotional appeal of the subject matter dictates the medium," he says.
Sheldon Tapley revitalizes the still life genre by combining aspects of contemporary life with with more traditional elements and painterly techniques.
The first use of yellow pigments goes back to ancient times and, through the ages, artists have found additional pigments for yellows.
Tim Kennedy offers glimpses of everyday life in his oil paintings of family and friends.
Embracing both the beauty and pathos of the human condition, Candice Bohannon paints sensitively rendered portraits and figures in oil and graphite.
Enhance the illusion of form and depth in your still life paintings by hardening and softening edges. Michael Chesley Johnson explains how in a step-by-step demonstration.
Gregory Halili paints watercolor cityscapes, portraits and butterflies with plenty of detail, but on a miniature scale—sometimes as tiny as 1-1/2x2 inches.
In Chang Liu’s mixed-media work, her titles come first—a word or phrase that provokes a visual image. She wants the final painting to express the thought she began with, to condense the narrative into “one breath.”