Painting rocks, for me, is, in part, a matter of contrasts and harmonized similarities. Contrasts can consist of lights and darks; large and smaller areas; and sharp edges, lost edges and all edges in-between. Then there are the textural contrasts of the paint itself.
Jaye Schlesinger paints still lifes in oil that feature the modern-day symbols of brand names, logos and consumer products so we can see them with new eyes and gain a better understanding of ourselves.
With a scientist's precision, John Agnew captures the textures of "lesser-loved" species and their habitats on scratchboard.
Understanding the play of warm and cool color variations is key to depicting lifelike fleshtones.
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.