A free step-by-step oil painting demonstration by Robin Smith, featured in the newly released "New Realism" magazine.
Richard McKinley shares how he experiments with various elements and principles of design to keep a painting from becoming compositionally predictable.
Claudia Nice reminds us that we have certain ideas about what things look like, when in reality, it takes a different perspective to truly see, and ultimately draw, accurately. Learn more, and see Claudia's lesson on how to draw hands (a special bonus!).
“These places I paint, I know them intimately,” says Thomas McNickle of the tranquil surroundings located just minutes from his Pennsylvania home. “Even as a little child, I had two overwhelming interests in life: one was art, and the other was nature." Get his must-have tips for plein air sketching here!
Liz Haywood Sullivan shares a detailed lesson on how to paint a landscape using pastel.
When working in oil, Deborah Quinn-Munson will pick up a palette knife to begin activating the surface. In this free demonstration, she shares her process, from storyboard to finished painting.
Painting with acrylics while incorporating elements of collage allows for an intuitive process of experimentation and discovery.
Are cheap canvases worth the savings? Johannes Vloothuis addresses this and more as he compares linen and cotton canvases and how to prepare them for painting.
"My goal is to paint something convincing," says Randall Exon. "There's a certain type of authenticity that I think I can only reach through my own memory banks."
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.
Terri Ford attributes the richness of her pastel colors to her loose, tonal underpainting. She demonstrates her underpainting process with a plein air pastel landscape.