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Deals with the role of paint in paintings. Significance of how the artist uses the paint to communicate; Techniques in making the paint surface more interesting; Information on the use of abstraction.

Provides information on the challenges posed by technology to artists who are interested in fine-art prints. Impact of technological changes on artists; Views of several experts on storing pictures and information digitally; Tests developed by the American Society for Testing and Materials Subcommittee on Artists' Paints and Related Materials to decide whether a particular color will remain unchanged for many years.

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.

Presents updates on the art industry in the U.S. as of September 2000. Details of the 'Birds in Art' exhibit at the Leigh Yawkey Woodson Art Museum in Wausau, Winsconsin; Information on the art of gilding; Career background of artist Terry Madden.

Presents various resources and practical information for artists in the United States (US). Calendar for the year 2000 from the organization Farm Aid which features watercolors by artist Katharine Montstream; Exhibition of the images featured at the periodical `Saturday Evening Post,' at the Norman Rockwell Museum in Stockbridge, Massachusetts from November 13, 1999 to April 2, 2000; Favorite print and posters in the US according to the Barewalls Print and Poster Index.

Focuses on the art in New England during the period between the Civil War and World War II, which were featured in the exhibition `Picturing Old New England: Image and Memory,' at the National Museum of American Art in Washington, D.C., in the summer of 1998. Historical art works in the exhibit; Art works featuring New England's geology; Changes in art styles.

Presents information on art prints. Details on the company Wild Apple Graphics; Types of prints; Why some artists publish their own prints; How to choose a publisher.

Lists resources and other information for artists. Information on the book `Art Law: The Guide for Collectors, Investors, Dealers and Artists,' by Ralph E. Lerner and Judith Bresler; Biennial 1998 at the Delaware Art Museum; Information on some art exhibitions in the United States for the year 1998.

Presents information on several computer network resources for artists. Definition of some computer terms; Ways to search for information; List of websites that are of interest to artists.

Presents a discussion on the use of pastel as an art medium. Techniques in using pastel.

Provides information on the safety of art materials. Art and Creative Materials Institute (ACMI) in Boston; Statements to look for on the label of art materials; List of commonly used terms that can help understand labels. INSETS: Guidelines for safe use of art and craft materials.;Resources on safety of art and craft materials..

Presents advice from Judith C. Walsh, on selecting and using papers for an artwork. Position of Walsh at the National Gallery of Art; Factors that can affect the longevity of an artwork on paper; Painting with oil colors on unprimed paper.

Offers advice concerning the creation of environmentally-friendly art. Availability of paper products for artists; Garbage generated by art; Compliance with the Clean Water Act.

Part II. Discusses the role of art in health. Exploration of the healing power of art; Relationship between disability ad heightened creativity; Restorative role in the lives of the injured or ill; Provision of a positive distraction.

A directory of various art workshop offerings from U.S. and international art schools is presented including the Academy of Realist Art in Seattle, Washington, Martin Ahearn Watercolor Workshops in Rockport, Maine and American Society of Portrait Artists in Montgomery, Alabama.

Discusses the work of artists Tom Duncan and Reginald Case, who combine the arts of sculpture and painting to create their pieces. How they reflect the creative process itself; How Renaissance workers in parquet may have been first to use the technique; Kurt Schwitters (1887-1948) of Germany believed to be the first constructed-image artist; Duncan's `Dedicated to Coney Island' (1987-1993); Case's `Temple' (1988); Other works; More.

The article focuses on painter-sculptor Maggie Siner whose relatively small works express strong and moving statements. The strength of her paintings is said to lie in the absence of static passages and the laying of light against dark that lend a sense of motion to her works which reflect her own dynamism. Her paintings are also influenced by gravity by which all movement struggles, and time where she attempts to grab it and hold it for a while. She believes that for a painting to be recognized as truth, it must portray a sense of the way things are.

Discusses the author's and his wife's (the artist Lani Irwin) experience of fulfilling a common dream among artists to live and work in Italy, one of the countries that has the greatest roots in painting, sculpture, and architecture. In love with Italy for 20 years; Year spent together in Italy when both were still in high school; Exploring the Tuscan towns and cities; Vacations in Italy; Paintings featured in the article; More.

Looks at the techniques of Sandra Humphries, whose dramatic watercolor landscapes and monotypes resonate with color and assurance. Her interest in creating shape and color; The guilt she feels for not contributing monetary support to her family;Support of her husband Stanley; Her history of painting.

Discusses how Marilyn Cohen uses old photographic images as inspiration for her collage paintings, weaving her memories with the memories of others into portraits that are very personal. Her studio; The medium Cohen works in; How she becomes personal with families that commision her to paint portraits; The process of absorption; Step-by-step demonstration painting `Primer'; Details.

Details the most effective ways to present artwork, focusing on the importance of the frame. Inappropriate frames; The advantages of framing; The cost of framing; Styles of frames; Comments from artists and dealers; Details. INSET: Matting and framing source directory, part 2..

Demonstrates the techniques used by Jim Malady when creating figures in a painting. The importance of the initial drawings when painting with figures; Drawing and composition as the life force of representational figure painting; The themes of drawing, composition and value; Step-by-step demonstration painting `The Saturday Afternoon Bocci Game'; Details.

Describes how the author uses egg-oil emulsion medium for the luminous qualities it produces and the ease with which it can be used for fine details. The author's extensive research to find materials and techniques that would resolve the medium'slimitations; Preparation of the paint and the panel supports; Examples.

Summarizes several events and publications of interest to artists. Includes the founding of the National Oil and Acrylic Painters' Society, the free brochure `How to Protect Your Creative Work,' and the opening of a new wing at Michigan's Flint Institute of Arts (FIA).

Gives advice from two Midwestern artists, David Snyder and Hal Scroggy, on how to use photographs to create watercolor paintings. Discusses photo sources, combining sources, referencing and analysis.

Presents a listing of resources and practical information for artists, including a new New York law providing buyer protection for sculpture, Studio Exchange International, and an art marketing seminar.

Tells how to create and assemble photographs into a `cluster construction' to create a three-dimensional cityscape.

Discusses how individual artists' styles differ and how viewers often erroneously accuse one artist of trying to copy another artist's style or work.

Describes the basic process of making woodcut prints and the simple materials and techniques entailed.

Discusses how gallery owners and artists can relate the works of one artist to another or themselves and jointly benefit. Summarizes three ways to make art that's sure to strike a responsive chord in the viewer; Gives examples.

Discusses the Pollock-Krasner Foundation, founded in 1984, which is the largest private institution ever established to assist needy visual artists internationally. INSET: Other grant programs/How to find out about artists' grants..

Artists Henriette Wyeth Hurd, Paul Cadmus, Jeanne Dobie, Thomas S. Buechner, Mort Kunstler, Mary Tift, Kris Kerson and Richard Ellis describe their studio space and the work they create within it.

Texas artist Daryl Howard offers a detailed and step-by-step demonstration of how to make landscape woodcuts and prints.

A look at the variety of intermediate cutters designed to fill the gap between hand-held cutters and production equipment.

The article presents solutions to problems in law, business and art, featuring the case of Raph David whose works will be published as a monograph and the publisher requires reproduction-quality reproductions. It narrates that few museums charge exorbitant fees for original photography and photo rental. The article also presents the author's advice including artists having reproduction-quality photographs of works made, artists obtaining a commitment from the gallery to reveal the names of purchasers and placing a notice of copyright.

The article discusses art criticism which defines the orientation of an art object into a larger context. It also mentions that art criticism thrives on curiosity, contradiction and change. The article concludes that although both preferences and prejudices defines a critic's stance, art criticism is a process which mirrors the current attitudes of the artists and the audience.

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 term "going with the flow" which refers to the experience of losing awareness of time and self, and becoming one with the process of creating. It notes that the term also refers to the artist's acceptance and utilization of the events of life. According to the author, techniques are not enough to bring life to an artwork as artists need to bring their own life to it as well. The author also discusses haw she learned to acknowledge pain, loss and anger as an artist and as a person.

The article profiles artist Robert Julius Brawley who once became an abstract artist and then a successful Photo-Realist in the 1960s. He studied at Central Washington College and then at the University of Washington and the Charles and Emma Frye Museum School in Seattle, Washington. It notes that his art influences were the American Regionalists composed of Benton, Wood, Curry, and Hurd. Brawley's works include "Watcher of the Storm," "Persistent Dream of Mexico," and "All That Music... All Those Songs."

The article features the paintings by Renaissance artist Albrecht Dürer. According to the author, he saw Dürer's passionate search for truth in the object when he studied Dürer's "Tuft of Cowslips" at the Cincinnati Art Museum in its 1981 exhibition of the Armand Hammer Collection. It notes that his contacts with Italian artists including Barbari, Bellini and Raphael shaped and refined his ideas. Dürer's works include his nature studies "Large Piece of Turf" and "A Young Hare."

The article discusses the influences of other artists to their fellow artists. The author believes that artists Thomas Eakins and John Singer Sargent were influenced by Spanish artist Diego Velázquez. According to the author, artists as of July 1, 1983, are hesitating to mention their influences because they believe that it would make their art appear less. The author argues that artists should not hesitate to mention their influences because they owe a debt to those who have preceded them and they have benefited from them.

The article offers tips on finding and working with an art dealer. It states that most art dealers in the U.S. represent European and Asian artists, established artists, or sell posters and photomechanical reproductions. It suggests that an artist must first decide on what style he would like to promote, establish his reputation and following in the art community, and send letters of introduction with work samples to art dealers he is interested in. It also mentions that a written document for consigned art work must be signed by artist and dealer.

The article offers information on a stencil-making technique which incorporates aquatint etching and the airbrush. It details the steps involved in stencil making which include preparation of materials such as a ruling pen, rubber cement pickup, and an airbrush, screen preparation, masking, spraying, and printing. It also features several of Ants Reigo's works like "Spinning Wheel," "Annapolis Valley," and "Mulock Road."

An interview with artist Chuck Close is presented. He states that he had always been single minded and at the age of four he already knew that he would be an artist. He considers himself lucky for having studied at Yale University in the group of artists including Brice Marden, Richard Serra and Janet Fish. When asked about what is next for him, he says that his subject matter remains the same but he alters the other variables that challenges him such as a new media, scale or construction.

The article offers step-by-step instructions for matting and framing an art work.

The article presents questions and answers related to art, including the use of cardboard for painting, the techniques used by egg tempera artists, and the process followed by professional artists in varnishing oil portraits in order to get a smooth finish.

The article presents information on the basics of drawing, an art form that is used as a presketch for a painting and a study for more media. The creative process begins with an idea and continues with visualizing the artist's impressions. The pencil is said to be one of the media used in drawing and the easiest.

The article discusses imagination, a response to things seen, either at the moment or as memory presents them, which enables an artist to combine ideas and images. It notes that imagination can serve as a source of ideas by enabling the artist to reuse motifs or images that he has previously encountered. An artist is said to be capable of travelling for fresh visual stimuli since life manifests itself differently in various places.

The article focuses on Joseph Ansell, an artist who paints miniature paintings. Ansell's paintings, ranging from one to five inches in height, are said to depict landscape scenes in intricate architectural frames. In 1981, Ansell presented a series of 50 miniatures "Mirrors of Mt. San Angelo," featuring vistas at the Virginia Center for the Creative Arts in Sweet Briar, a retreat for artists at Mt. San Angelo. Ansell completed master in fine arts in painting at the George Washington University in Washington, D.C.

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.