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The article features Kenneth Cadwallader, a Michigan realist whose paintings simplify value and color associations in a way they actually appear in nature. Cadwallader's painting procedures start without much preliminary drawing or study by freely sketching in major value areas with vine charcoal. Cadwallader, who had a well-rounded art education, offers instructions in a demonstration depicting the painting "Kerida."

The article offers insights from Michigan artist Jim Johnson on watercolor painting outdoors. According to Johnson, watercolor is the perfect medium for exploring nature's beauty. To add texture and an impressionistic look to his artwork, Johnson varies the size and direction of his brushstrokes. He cites the goal of plein air painting. His favorie color choices are alizarin crimson, cadmium yellow light and cobalt blue. Particular focus is given to his three preliminary steps for successful painting en plein air.

The article offers step-by-step instructions for building stronger paintings.

The article focuses on the unconventional approach used by father and daughter watercolorists David and Jae Drummond to control watercolor washes. Instead of mounting paper in the traditional way, each works with the paper taped to a piece of cardboard, carefully balanced on the lap, even for large paintings. Both feel there are disadvantages to working in the unconventional manner, which is the difficulty of handling very large pieces and any board light enough to hold on their laps will tend to buckle when becoming wet during the painting process.

This article deals with the concept of critique group, an organization consists of artists who convene at regular times for the purpose of showing and discussing their art. A critique group can be large or small, limited to one medium or open to all, highly organized or informal. The benefits of critique-group experience for artists are outlined and suggestions for starting a critique group are presented.

The article focuses on the technique used by Michigan artist Sharon Will to integrate the elements of color in her paintings. Will believes that direct observation from life is the only way to truly capture the subtleties of form, value and color found in nature. Value, hue, temperature and intensity are the basic characteristics of a color applied by Will in her works. The intensity of hues can be controlled by adding a small amount of complementary color to pure colors.

Presents an interview with art teacher and pastel painter Frank Federico on the use of color in painting. Significance of the color yellow to his paintings; Goal in painting; Role of shapes and color relationships in a painting; Influences of painter Maurice Vlaminck and other artists on his paintings.

Discusses how painter Paul Murray of New Mexico creates paintings using pastels. Comments from Murray; Reason Murray prefers to paint on hardboard; Description of supplies used by Murray.

The article features American artist Lisa Iagulli Geren. She finished a Bachelor of Fine Arts at Bowling Green State University in Ohio. It notes that she establishes a rhythm in her compositions through repetitive movements and shapes and fill her watercolor paintings with emotions. She states that she tries to capture the essential nature of the scene by looking for textures and patterns, mood and drama. Some of her works including Beach Nuts, Sea Grape Umbrellas and Banyan Fantasy are also presented.

Describes the paintings of Michigan artist Jerry Power. Information on his approach to art; Importance of plein air in his painting; Steps followed by Power in painting.

Features the pastel paintings created by Michigan-based artist MaryBeth Koeze. Artists that influenced the painting style of Koeze; Influence of gardening on the paintings of Koeze; Importance of photography for Koeze.

The article highlights the works of artist Deborah Lass, which uses self-expression as subject. The reasons for the artist's frequent use of water in her themes is explained. Her interest in movement and the patterns created by movement is also mentioned. Also discussed are some of her influences including Hans Hofmann and Joseph Raffael.

Features illustrator, painter and teacher, Charles Edmondson and his watercolor paintings. What the artist looks for when choosing a subject; Materials he uses; His painting procedure.

Focuses on the pastel paintings of Carl Forslund. Impetus for his fascination for contrasting shapes; Elements that he found appealing; Steps by steps instruction on creating the art titled `Forms of Nature, Shapes of Man.'

Provides information on a pastel painting outing in Provence, France. Description of Provence; Details on how the authors created their paintings; Their experiences in plein air painting.