After featuring acrylic artist Karin Nelson in the Fall 2016 issue of Acrylic Artist we followed up with her to learn more about how she manages the fast-drying qualities of acrylic paint. Here’s what she does to overcome three common obstacles. Nelson explains, “The fast drying property of acrylic can be its biggest negative. Once we...
Catherine P. O’Neill shares her watercolor techniques for pouring and lifting to create the effect of mist. Follow along step-by-step in this demonstration.
Richard McKinley shares how he experiments with various elements and principles of design to keep a painting from becoming compositionally predictable.
“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!
Ian Ramsay pushes his architecture- and maritime-inspired watercolor landscapes beyond the facts of his reference photos to create mood and a feeling of being there. View some of these enchanted vistas 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.
Today we feature two artists who create watercolor landscapes that were born out of pushing limits.
Christine Ivers's pastel nocturnes beautifully capture the warm glow that can only be seen at night, but the technique she uses need not be mysterious to you.
"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.