Search

The article discusses how the author uses sketches, photographs, research and imagination to create studio paintings. His primary concern when creating a painting from a sketch is to improve the overall design. This is best done in the calm environment of the studio because it requires reflection and trial and error. He states that he usually starts a studio painting with a monochrome or limited-color underpainting and layer color during subsequent sessions. He adds that he prefers to varnish his sketch and then wipe off the dabs before they dry.

Focuses on the works of New Orleans, Louisiana-based oil painter Susan Fleming Hotard. Inspirations of several paintings by Hotard; Overview of the painting technique of Hotard; Preferred tools.

Features Pennsylvania-based oil painter Glenn Harrington and his painting technique. Inspirations on his paintings; Use of synthetic watercolor brushes in painting; Artists who influenced Harrington.

Features artist R. Kenton Nelson and his works. Description of his paintings; Problem with relying on photography for painting according to Nelson; Technique used by Nelson in his work.

Features artist Alan Peckolick and his works. Background of his career as a graphic designer; Comments by Peckolick on designing letterforms; Technique used by Peckolick for his paintings.

Features artist Gary T. Erbe and his trompe l'oeil paintings. Basis of trompe l'oeil art; Concept of the levitational realism technique developed by Erbe; Information on Erbe's paintings "Baseball Album" and "The Mastery of Oil Painting."

Features artist Richard Boyer and his plein air paintings. Colors included in Boyer's palette; Painting techniques used by Boyer; Information on Boyer's painting, "Sunday Morning Fishing."

Discusses several factors to consider in creating acrylic landscape paintings. Preference on the size of the painting; Ways of finding subjects to paint; Attitude in painting; Nature and style in painting.

Describes the style and technique of artist Paula Lawson in painting pastel landscapes. Experience in her exploration of Texas landscape; Process in painting; Nature of coloring; Details of marking.

Recounts the nature of the techniques of Washington state artist Stan Miller in painting. Significance of experience to the development of the learning ability in painting; Details of the painting exercises being taught by Miller to his class; Importance of design or organization of shapes and values within a painting, to Miller; Selection of colors from a palette.

Focuses on the representation of religion and faith in Nicora Gangi's artworks. Inspiration of Gangi in her artworks; Description of several paintings by Gangi; Technique and materials used by Gangi in her paintings.

Presents several resist techniques in masking paintings to enhance the quality of the artwork. Use of masking fluid on water color paintings; How to apply tape resist; Materials that are commonly used in tape resist methods.

The author discusses her watercolor paintings. The author states that she did not know how to control water colors before but she found out that by mixing both wet and dry pastels into the watercolor, she will be able to spend less time with the technique and more time with the subject matter. As of August 1983, watercolor is the only medium she uses. When painting in watercolor, the author uses a tight and controlled technique of starting with washes and then adding of detail layer upon layer.

The article discusses the evolution of painting. Painting was gradually considered an art instead of a craft by the start of the 17th century. The period was marked by the growth of amateur painters taught by tutors and books, and the continued assimilation of knowledge of materials and techniques by professional painters. By the mid-17th century, artists' colourmen, suppliers of artists' requirements, have began to evolve.

The article features Jack Garver, a watercolor artist. Garver speaks of watercolor as having the characteristics of fluidity, spontaneity and transparency not found in any materials. The artist must have to understand his subject and work from his own knowledge, he advises. He explores his experiences in watercolor painting and samples of his works are featured.

The author shares his techniques on creating watercolor paintings. The author creates the setting for his subjects based on his feelings. He creates imaginary setting based on the painting's thematic component. To create a painting, the author first lightly draw his subject using a 2B pencil or a small brush.

The article features watercolorist Richard C. Karwoski. The artist reflects on the events of his life concerning his watercolor renaissance. He says that he used to work primarily in oil on canvas and considered watercolors as a relaxing pastime, and compares the two mediums in terms of the physical and mental energy and time spent to finish. He cites that his awakening began after a dinner party with friends resulted to a sale of one of his watercolors which has since compelled him to create more. He gives a detailed description of his technique.

The article features artist Ruth Egri and her works. Egri studied at the National Academy of Design in New York and at the Art Students League. Her designs are mostly abstract focusing on dynamic symmetry although she considers herself as a realist. It describes Egri's technique of creating an oil-like appearance using acrylics by laying out thin puddles of colors in her palette, using dry brush to soften the edges of shadows, and mixing gesso with a neutral color. Her works include "Entrances and Exits," "The Group" and "Cafe."

The article features Berthe Morisot, an artist whose reputation rests on a single painting, a portrait of her sister watching at the crib of her child. Her works were reportedly admired by painter Renoir and poet Stéphane Mallarmé. Born in 1841, with an art career spanning 30 years that was cut short by he death at age 54, Morisot decided to marry Eugene Manet in a shipbuilder's yard. Morisot made several paintings including one of Eugene and several scenes of the harbor.

The article features painter William Woodward. His traditionalist approach emphasizes high tones from all corners of the spectrum. His creates a sense of excitement and beauty through familiar images by perfecting a highly refined painting technique. His paintings are said to reveal images taken from the visual world and recast in the artist's mind. A brief personal background on Woodward is also provided.

The article focuses on Robert Maione, an American painter. It states that Maione was born and raised in New York but found his home in Umbria in Italy. The article highlights that Maione, who works with nature as well as the human figure, gives importance to perception as an influential factor in executing his technique and that his work methods are acquired from the old masters. According to the article, Maione believes that technique and creativity is inseparable as painting is both an art and a craft.

The article focuses on the technique used by artist Hardie Gramatky in painting watercolors. Gramatky believes that the element of surprise has always been the key contributor to the completion of a watercolor painting. He adds that his use of opaque in his works changes the relativity of the pictures. While he admits that there has been controversy over what is honest or not honest in the use of opaque, he points out that artists should consider what is good for the painting.

The article features watercolorist Ray G. Ellis. According to Ellis, watercolor was most frustrating to him in his early schooling and has tried a variety of techniques but the unique quality of watercolor offers freshness and subtlety brings him back to it. He infers that watercolor demands continuous experimentation and long hours of preparation, considering proper lights and color as well as balance, clarity and vitality. His "Fog" painting is also discussed.

In this article, the author describes the painting process and his methodology, with samples of his work provided. He states that all paintings should be regarded as physical objects, while to qualify as art, it must be well made. He professes indifference to what others surmise about an artist's frame of mind when creating a composition, citing the importance of skill and talent to render a work. He explains how he approaches a painting, describing a work in progress of a girl in a bikini, explaining how he considers the lighting, texture and size.

The article focuses on the life and career of artist Frank di Gioia. Among the people who motivated di Gioia's artwork are Charles Farrand, artist Walt Kuhn and John Sloan of The Art Students League of New York. His paintings include "Master of Ceremonies," "201 Bowery" and "The Audience Joins In." Many of his ink and watercolor sketches were made during his trips to Europe and Africa with subjects focused on historic buildings and monuments. His technique consists of mixing grays and blacks with other colors, touches of dry brush and scratching.

The article discusses the techniques of alla prima painting. According to the author, the first approach is to paint into a white or colored ground to achieve the final effect while painting wet-in-wet. Another approach, he adds, is to paint on one or various dry underpaintings. He stresses that the alla prima painting can be best achieved when made on a small scale. The best support that can be used in alla prima painting is a panel and masonite.

The article looks at Austrian-born U.S. painter Frederic Taubes and his contribution to the development of contemporary painting. It describes the aesthetic content of Taubes' art and his craftsmanship. It suggests that artists should master the technic of painting and follow established principles in the workshop of old masters. It discusses the painting procedure of Taubes and the organization and housekeeping in his studio. It cites his experimentation in various painting styles.

Addresses questions related to art. Reasons for not varnishing egg-tempera paintings; Advantages of using polyester canvas; Technique that can be used in preserving the paint used in decorating a chair.

Answers several questions about art and painting techniques. Information on water-soluble oils; Use of spray-coating in pastel painting; Recommendations for colored grounds for pastel; Features of oil paintings by artist Winslow Homer.

The article presents questions and answers related to art, including a medium to use in alla prima painting, use of kiln-dried, rough-sawn all heart red-wood as painting supports and how to prepare a wall for mural painting.

The article focuses on artist Philip Hays' explanation on his approach in executing his illustration commissioned by the magazine for the covers of both its special issue and the program guide supplement for Art in Action exposition to be held in Pasadena, California. Hays believes that the resulting image should represent the broad range of fine art and commercial art presentations that are planned for the consumer exposition. He also considered the fact that the artwork should work as a cover for two separate publications and as a poster.

The article focuses on the work of painter Giovanni Bellini, which is characterized by separateness of the figures. It states that Bellini's work has stillness and straightness as demonstrated in his work "The Feast of the Gods." His paintings show a contrast between such as the little girl's arm against the flat, simple tone of the old man's tunic.

Several letters to the editor are presented in response to articles in previous issues including "The Disptemper Technique of Edouard Vuillard," by Bernard Dunstan in the February 1973 issue and "Asian Art in Election Year," by David Preiss in the June 1972 issue.

The article presents questions and answers related to art creation including fixing missing paint, the amount of lead in the paint color flake white and mounting canvas on a Masonite panel.

The article features watercolorist Emil J. Kosa, Jr. Kosa was born in Paris, France in 1903 and graduated from the Academy of Fine Arts of Prague. Kosa's success as a watercolorist is attributed to his use of color, brushwork, and design accented on contrasting values. He has received over 35 prizes and honors since 1928, including the Osborne and Zabriskie prizes at the American Water Color Society shows, and the Ranger Purchase Prize at the National Academy of Design.

The article focuses on the evaluation by a master of the compositional structure of the painting "The Wheat Field," by Jacob Van Ruisdael. The first plate presents a simplified pattern of black, gray and white showing the large and small movements of the painting while a seeming skeleton of the composition in a second plate is discussed. Noted in the other plates are the large and amplified shapes, the lyrical curves and the abstract forms and patterns that brought out the aliveness of the art work.

Provides answers to technical questions related to art. How to repair a crack in a woodblock; Explanation on the sgraffito painting technique; How to repair the tears in the paper of watercolor paintings.

Discusses about the broken-color technique in painting. How impressionists popularized the technique; Vibrancy and luminosity created by the technique; Artists who were the masters of the technique.

This section offers various issues of interest to American art as of July 1983. Artist Sondra Freckelton describes her painting techniques featured in "The Watercolor Page" article in the July 1983 issue of "American Artist." A brief background is given about Phyllis Plous, curator of exhibitions at the University Art Museum in Santa Barbara, California. It also announces the move of the Institute of Electrical and Electronics Engineers Inc. (IEEE) to sponsor an international painting competition as part of its 100th anniversary in 1984.

The article discusses the techniques that illustrator Lorraine Fox used in painting the 1971 Christmas issue of "Boy's Life" published by Boy Scouts of America. Fox directed the scene while her husband took photographs of the altar boys running down the driveway. Her other techniques include accentuating the form using horizontal striations on the robe, creating soft road shapes using fingertips, and controlling paint spatter for the stars.

The article presents questions and answers related to the technical aspect of painting including the method to use when repairing a pastel painting, how one describes the dimensions of a painting, and how one blends tones in acrylic polymer painting.

The article presents questions and answers related to art including the use of a mixture of stand oil and poppy oil for painting, and the objections to using kerosene as a thinner for paints.

The article presents questions and answers related to art, including about the different kinds of French oil colors, the feasibility of spraying retouch varnish on newly completed oil painting to preserve it while it is drying, and the means to prevent cracks or paint flaking of an oil painting.

The author discusses the alla prima oil painting technique. Defined as wet on wet painting, rapid work is needed to finish the artwork while the initial paint applied on the canvass is still wet. He shares that linseed oil and turpentine as a thinner should not be utilized in alla prima painting. He also mentions several artists who use this particular kind of technique including Pieter Brueghel and Hieronymus Bosch.

The article presents a response to commentary about the author's stance on progressive art. According to the author, experimentation is part of the painter's life and must be the most important thing in the mind of a painter. He adds that a painter must always explore new techniques but must retain his or her old techniques because of the confluence of past and future.