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The article examines the life and work of two American artists working in the early twenty-first century, Adam Miller and Martin Wittfooth. Particular focus is given to how both artists paint subject matter that is often dystopian in nature. Details relating to Miller and Wittfooth's training and upcoming exhibitions are also discussed.

The article provides information on the twenty-first century art movement, Novorealism. Particular focus is given to the involvement of the Russian-born, California-based artist Alexey Steele, who coined the term to explain the work of a group of artists aiming to expand upon the realism movement. Steele's blog and web magazine, titled "Revolution That Came," is also discussed.

This section offers news briefs related to art. The 15th anniversary celebration of the Artists' Gallery in Lambertville, New Jersey is celebrated with a special exhibition titled "All Together Now." The 4th Annual Juried Exhibition at Crane's Mill Towne Square in West Caldwell, New Jersey is held by the Pastel Society of New Jersey. The winners of Eastern Regional Exhibition of Oil Painters of America were announced.

The article discusses the author's views regarding the trend among artists of creating works that appear to be copies of works of celebrity artists. The author believes that this is not intentional on the part of the artists but thinks that this is a shortcut done by artists to attain creativity at the expense of their own development. It provides four lessons that artists should allegedly consider for their professional career in art, including step-by-step demonstration on how to create original paintings.

The article discusses new research about the impact of environmental conditions on the preservation of works of art. It explores questions about the effectiveness of the old rules about the optimum levels of heat and relative humidity (RH) , such as steady 70 degrees Fahrenheit and 50 percent RH, in protecting artworks from contamination. An overview of the research findings that contest this 70/50 rule is offered. Photographs of samples of contamination of artworks are also included.

An interview with Arizona artist Bill Lundquist is presented. Lundquist says his biggest challenge is to find ways to help students improve their drawing abilities. He enumerates some critical issues that relate to drawing. He points out that the drawings one make in preparation for painting are usually different from those with the goal of producing a beautiful work of art.

The article focuses on the capriccio, a type of landscape painting. The artists who pioneered this genre centuries ago worked within a tradition that involved transporting the viewer to a place of unimaginable context and composition. A capriccio in painting usually meant an invented view, a landscape often of magnificent ruins composed of recognizable parts in unrecognizable juxtapositions. It relates the difference of capriccio with plein air painting.

The article presents the steps to creating expert figure drawings. First, measure the basic proportions. To find the middle of the body, align the tip of the pencil with the top of the head, and then position the thumb in line with the body part that appears to be in the middle. Use the size of the head to measure the width of the shoulders. If the vertical and horizontal measurements are accurate, one will automatically indicate the distribution of weight and movement of the body in space.

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.

The article focuses on contemporary views on children's portraits. Despite the shift in attitude regarding children's portraits, and society's increasing tendency to value a child's freedom of expression and individual personality, many contemporary commissions still specify that the subject pose in their Sunday best, in a formal setting. Many contemporary artists offer alternatives to tradition while retaining enough of a portrait's purpose to suit parents' wishes.

The article outlines tips for painters on creating their masterpiece. It emphasizes the importance for artists to have a full range of technical ability. Artists should keep in mind that no technique or tool is better than another, and each has an appropriate use. It is essential for artists to continue to experiment with different approaches and materials. It stresses the value for artists to practice perseverance and to be willing to experience failures.

The article presents information on how to authenticate and archive an artwork. Artists can avoid authenticity issues that may arise by considering the importance documentation has on the validity of their work. It is also beneficial for artists to establish archival records to protect their future prospects and their patron's interests.

The article focuses on oil painter Carolyn Egeli and some of her art techniques. According to the author, Egeli's work has an honesty about them that cannot be taught. She cautions against the artist, and thus the viewer, getting too close and looking down on the subject, especially if the portrait is three-quarter length, including the subject's hands and lap. Egeli takes frequent breaks as a painting progresses, she works on another painting, plays the piano or exercises, and then returns to the painting refreshed.

The article features figure painter Pauline Roche. Roche searches for connections between museum visitors and the art they view as a way to add an element of poetry to her work. In "Woman in Yellow Coat," the folds of the voluminous coat and hair of the viewer lit by strong light from one side somewhat reflect that in the dancer's dress in Sargent's El Jaleo. In "Leaning Toward the Sargent," she likes the way the model is largely silhouetted with dark clothes against the lighter walls.

The article features New Hampshire painter Colin J. Callahan and his style in painting. The artist mixes an academic approach with an appreciation for a somewhat romantic or even whimsical spontaneity. When painting en plein air, Callahan surveys the scene to find which vantage point offers the best geometry. He quickly establishes the horizon line, then scrutinizes the scene to determine which elements are important.

The article features pastel artist Liz Haywood-Sullivan. She relies on several techniques to ensure she consistently achieves rich, velvety darks. She begins her pastel works by drawing her subject freehand, challenging herself by never tracing or projecting the image onto paper. Her preference is to use a variety of pastel densities. In "Christmas Field," the darkest areas are the untouched paper, and the lighter blacks are often dark reddish-browns.

The article features German painter Adam Elsheimer. He painted very small pictures of largely religious subjects and he pursued a career of creating paintings that were mostly, destined to be incorporated as panels into pieces of furniture and cabinetry. His work often has a modern appearance, particularly in the directness and intimacy with which he painted figures. He presents biblical and mythological scenes as events in which very down-to-earth human beings played a role.

The article discusses the techniques used by artist Ruth L. Beeve to capture a variety of subjects while on location at the Forbes Trinchera Ranch in Colorado. Plein air painting still features plenty of chance and uncertainty for Beeve although she has painted confidently in water color for several years. Beeve took that approach when capturing the landscape of the Forbes Trinchera Ranch. Beeve's palette of water-soluble oils used during the location is also listed.

The article discusses realist artists who have been featured by American Artist during its 70 years of existence. In most cases, the reports were the first significant accounts of the featured artists' artwork, techniques and philosophies. Most of the early articles were illustrated with black-and-white reproductions of drawings, paintings, graphic designs, sculpture and ceramics.

The author describes his admiration and support for artist Reeve Schley III. A discussion on the family and educational background on Schley is presented as well as details on his early childhood. The author recounts the purchase of his first Schley painting. In addition to the pleasure that Schley's paintings and friendship has given him, the author is grateful to Schley for helping him feel comfortable collecting the works of living artists.

The author discusses his method of painting interior scenes. Room interiors provide an opportunity to paint a variety of light intensities, colors and effects, but also present challenges in trying to capture the subtleties of forms within those dimly lit spaces. The creative process are detailed and the recommended painting materials are listed.

This article presents a conversation with artist Reeve Schley III about his 50-year-old career and the influences on his creative process. An important aspect of his interest in creating art has been working directly from nature. Teaching has also had an impact on Schley's approach to painting, as he finds the interaction with students to be quite stimulating. Another influence on the development of his art has been the interaction with group of supportive collectors.

This article presents a conversation with artist Ken Auster about his paintings. His works cover a variety of subjects including cityscapes, restaurant interiors, beach scenes, landscapes and still lifes. He discusses his educational and artistic background. Auster believes that his sense of design and his understanding of color played a role in the success of his paintings. As for the future, Auster says that he will be making larger paintings.

The article focuses on the recovery of the artistic life in New Orleans, Louisiana following the devastation of Hurricane Katrina. Plein air landscape painter Phil Sandusky returned to the city to repair his home and capture the devastation through plein air painting. He drew several wasteland landscapes resulting from the disaster. The Orleans Museum of Art reopened on March 3, 2006 with a celebration that honored the city's visual, literary and performing arts.

The article focuses on the influence of impressionist Claude Monet on the painting of Theodore Robinson. Robinson's relationship with Monet has clearly influence the former's works. His paintings have incorporated Monet's concern for the effects of color, light and atmosphere. Robinson also made use of a high-key palette and a wide range of brushstrokes. He also followed the practice of waiting for propitious atmospheric conditions before finishing canvases.

The article presents several suggestions from artist Roger Armstrong to creating livelier watercolor painting. Armstrong suggests the following steps to improve on watercolor painting: practice drawing on sketchbook, make thumbnail sketches, start with big shapes and come up with the details later, use simple palette and, strive for good design and balance.

The article presents an interview with oil painter Frank Lalumia. According to Lalumia, in approaching a visual world, a painting should have a two-dimensional design. He advises to take a series of steps before beginning a paint to make it easier to simplify and organize a scene. He comments that a composition consisting of middle values presents a special challenge.

Provides information on the Art Methods & Materials Show of "American Artist" magazine to be held in Pasadena, California in October 2005. Changes made to the annual artists' convention; Speakers selected for the event, such as Jane Jones and Laurin McCracken; Topics to be discussed during the event, including still-life painting and the correct use of art materials.

Features California-based painter Aaron Westerberg. Educational background; Views on the best way to teach and learn painting and drawing; Artists that influenced Westerberg.

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.

Focuses on the approach used by artist Robert Bauer in his drawings and paintings. Manner in which the bodies of work that he created were developed; Views of the artist on modern high-contrast photographic realism; Factors that influenced his method of pulling images out of exploratory marks; Importance of the relative directness of drawing to the activity of painting.

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.

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.

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 Mary Minifie and her works. Influence of Paul Ingbretson's painting and teaching methods on her work; Impact of the death of her husband on her painting career; Preference of Minifie regarding aspects of her paintings.

Focuses on an art project sponsored by FORBES Inc. and the periodical "American Artist" in London, England. Basis for the selection of artists for the project; Information on the relationship among the chosen artists; Characteristics of the realist painters.

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."

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."

Discusses the pen-and-ink drawings of historic buildings and its decorations. Role of drawings in the preservation of the historical and architectural value of a structure; Materials and techniques used in the creation of the artworks.

Presents paintings and drawings from several artists presented in various exhibitions. "Universalist Church," by Edward Hopper; "Newfields, New Hampshire," by Childe Hassam; "Woman Beside a River," by Alfred Thompson.

Discusses the technique that incorporates painting, printmaking and collage. Method of painting, printmaking and collage without the use of paint brushes; Photographs of several artworks of Wagner; Details of the printmaking technique.

Profiles oil painter Jonathan Hotz. Reasons for painting in different locations; Colors used his paintings; Features of his art; Advice of Hotz to aspiring artists.

Profiles painter Peter Poskas. Features of his paintings; His painting styles; Methods used by Poskas regarding colors.

Profiles painter Lindsey Kent. Materials used by Kent; Her painting styles; Advice of Kent to aspiring artists; Features of her flower paintings.

Profiles painter Victor Martinez. Educational and career background; Professional materials used by Martinez; Features of his works; His painting styles.

Profiles California painter Andrew Denman. Features of the acrylic paintings of Denman; Colors used in his paintings; His painting style; Advice of Denman to aspiring artists.

Elaborates the process in creating "The Beat Goes On" figure painting. Description of the painting; Source of the scene; Information on the three central figures to be considered in painting; Details of the final composition; Methods in achieving movement in painting.

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.

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.