I drew this piece in pencil over a couple of sessions. I always work from the general to the specific; from the flat/graphic shapes to dimensional forms. Accuracy of proportion and anatomical forms serves as the groundwork for the subtler, interesting problems associated with the sitter’s character and expression.
As a resident of the Sonoran Desert, I find the flora and fauna of the desert an endless source of subject matter. Lately I’ve been focusing on desert birds, especially the birds of prey. There’s something regal about them.
Wolf Kahn's paintings are part chaos and part control, but completely of the moment.
Whether on a computer screen or in print, images are rendered in only a few colors. Computer monitors use three colors (RGB); printers use four colors (CMYK). When choosing one color system over the other, there are certain things to keep in mind.
Jimmy Wright's sunflower paintings can be found in an number of notable collections, including the Metropolitan Museum of Art in New York City. In this interview with The Artist's Magazine, he explains how, for 20 years, he continued to breathe new life into this iconic image.
Realist artist David A Leffel reflects on his upbringing, the simple language of painting, and the art world of today in an interview with The Artist's Magazine.
I place the setups for my works at almost eye level. The center of focus in the arrangement for Delicate Porcelain (oil, 9x12) is the orange and the lighter part of the white porcelain pot. The dark bottle enhances the contrast in the central area. The entire composition has a linear reading path starting...
In 2007 I started going to The Schuler School of Fine Arts in Baltimore and over the course of 3 years gradually transitioned from my former career in architecture to just painting. I dedicated an episode of my free podcast “Impasto Logs” to describing my journey during that time.
"There is always something just under the surface of things," says artist John Jude Palencar.
In colored pencil, underpainting involves first tinting the paper surface with the subject’s light, underlying color. To do this, you apply solvent or water. This is a technique that doesn’t destroy the tooth of the paper, so you can create, with subsequent layers in colored pencil, visually tactile textures and other effects—from the illusion...
When starting to work with new materials, I find it best to keep it simple and work my way up. I get attached when I find something I like, whether paints, brushes, or supports—which means I approached this test drive of Jack Richeson’s new line of Shiva oil paints and gessoed hardboard with a...