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.”
Beth Krommes, winner of the 2009 Randolph Caldecott Medal achieves her signature look by applying wood engraving techniques to her scratchboard illustrations. She then colors images of those pictures with watercolors.
Rick Pas specializes in painting nature and wildlife, but his focus is on the abstract patterns and textures visible in nature, such as in the veins of a leaf or the tracery on a moth’s wing
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.
Please explain lightfast paint. To what degree are finished works in the various media (oil, watercolor, acrylic, pastel and so forth) affected by direct or indirect sunlight? Why does protective glass seem to be recommended more for some media than others?
What are the main differences between Western and Eastern watercolor techniques and how have cultural and geographical backgrounds influenced these differences?
Asian art papers—often called "rice papers"—are painting papers made in China, Japan and Korea for ink/brush painting. These papers are made from a great variety of plant fibers besides rice stalks. They come in various thicknesses and sizes, and have different degrees of absorbency.
Brush watercolor over the abstract shapes formed by the ridges of crinkled rice paper to convey the appearance of foliage and blossoms. Cheng-Khee Chee shows how.
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.