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The article presents the artful portraits from readers of the magazine inspired by events, a photo, or a renowned artist with the use of collage, pen-and-ink, or watercolor.

The article offers step-by-step instructions for incorporating sea grapes and their patterns of light and shadow in a paint.

The article offers step-by-step instructions for creating quilt-inspired project with the use of painted papers and layered motifs.

The article offers step-by-step instructions for making Richard Diebenkorn paintings which involves use of silicone or rubber scraper; low-tack tape; and fluid acrylics.

A step by step instruction is presented for making a painting using fabrics and cardboards.

The article offers brief information on paintings focused on abstract art with conveying emotions through shapes, colors and objects.

The article offers step-by-step instructions for painting in mid-century style similar with the work of Charley Harper.

The article offers information on the use of ballpoint pen in making drawing. Topics include drawing made by artists such as Jason Franz, Edward Harris, and Christina Coobatis with the help of ballpoint pen, which feature machinery and human body; simple line drawing with the help of ballpoint pen; and the Zen Buddhist practice of painting calligraphic ink circles reveal the nature of artist. It mention about the works of artists Kathryn Levy, Elli Matejka, Jessa Strayer and Jason Franz.

The article offers information on the works of artists Guno Park, Nicolas V. Sanchez and Joo Lee Kang. Topics discussed include drawings of Park made with ballpoint colors of black, blue or red; Sanchez crafts strikingly realistic portraits of people and animals; and Kang art works started with painting on canvas then shifted to drawings with the help of ballpoint pens due to ease of access.

An interview with artist Peri Schwartz is presented. When asked about the relationship between drawing and painting in her art, she mention that drawing would start as a study for a painting. She mention about the important element of her work including color, light and composition. She comment on the advice constantly given by her to her students. She also mention that getting feedbacks from proper persons is an important thing for the aspiring artists from a career perspective.

The article offers step-by-step instruction for making daily planner with mixed-media art with painting.

The article presents step-by-step instructions for creating pyrography which is the art of creating decorative designs on wood, leather and other materials.

The article presents step-by-step instructions for using charcoal drawing sticks for painting.

The article offers step-by-step instructions for making exploration painting focused on collage landscape.

The article offers step-by-step instructions for upcycled painting.

In this article, the author focuses on Izink pigment inks that are used for making paintings, while mentioning that these are acrylic- based pigment ink that work on any surface, porous and non-porous, and also mentions the comparision between watercolor and acrylic paints.

The article presents step by step instructions for making expressive painting related to spring with the help of pencils and crayons.

The article offers step-by-step instructions for making painting with a photo collage.

The article offers step-by-step instructions for painting featuring golden metallics.

In this article, the author discusses the steps for paintings done by her using Color Bloom spray. and texture art.

An interview with artwork artist Kim Niehans is presented. When asked how she starts a piece, she states that there are many different ways a piece starts. Niehans shares that her painting often depicts about life as a serious business. She adds that she enjoys working on a paper but is also trying on Baltic birch panels.

The article offers step-by-step instructions for drawing and painting a frog for a naturalist's field journal.

The article offers step-by-step instructions for turning paint splatters into flower paintings.

The article offers step-by-step instructions for making several layered paintings, including dye muslin, sgraffito paint, and spray painting via needlepoint canvas.

The article offers step-by-step instructions for painting using stencils and gesso.

The article offers step-by-step instructions for recycling Tyvek into painted sheets.

The article offers step-by-step instructions for creating art comprised of combined painting and drawing.

The article offers step-by-step instructions for painting a layered tag, for painting a paper-pieced house and for making tissue paper clouds.

The article offers step-by-step instructions for creating abstract encaustic paintings on a semi-rigid surface to make a mosaic.

The article offers step-by-step instructions for experimenting with heat, ink and paint to achieve a highly textured art piece that shows color and depth without a lot of bulk.

The article offers step-by-step instructions for painting a flat and then adding a stream-of-consciousness writing to it.

An interview with best-selling author, instructor, and world-renowned mixed-media artist Donna Downey is presented. Downey discusses how painting currently invigorates her and comments about her lack of organizational system to keep track of her goals and commitments. She also talks about her studios, her love of poppies, her sources of quotes, and her ways of getting out of creative rut.

An interview with artist and miniature sculptor Joe Fig is presented. Fig made his first real painting during his senior year as an undergraduate at the School of Visual Arts in New York. He says it was at the Scope Art Fair in Miami, Florida when he exhibited his work the first time. When asked about the kind of paints he uses, Fig says he mainly uses Gamblin and Winsor Newton.

The article examines the life and work of the American artist Howard Pyle. Particular focus is given to Pyle's work as an art educator under which he educated students including N. C. Wyeth and Charles DeFeo. Pyle's teaching practices, elaborate writings and artistic techniques are discussed in detail.

The article focuses on the American artist Ben Fenske and his expressive approach to painting. Particular focus is given to the figurative work he created during his training at The Florence Academy of Art in Florence, Italy. Various images of his paintings are also provided including "Picking Shells," "Sleeping in the Sun" and "Johanna Fixing Her Skirt."

The article focuses on the art and studio practice of the American painter Daniel E. Greene. Particular focus is given to the photorealistic images he creates using a set palette of 12 oil paints including the colors yellow ochre, cadmium red light and burnt sienna. Various images of his oil paintings are also provided including "Danielle—Spring Street," "Sheridan Square—Christopher Street," and "Elin—Waiting."

The article focuses on the self-portraits of Harvey Dinnerstein. The approach of Dinnerstein to self-portrait is in a range of many possibilities including the depiction of the subject as isolated, sometimes with a model, an artist colleague or family member and in the streets or in the marketplace. It notes the earliest portrait of Dinnerstein done in 1952 when he was in the army during the Korean War. It also presents several photographs of his paintings and a brief biography of Dinnerstein.

The article focuses on the emphasis of painter Randall Mooers to common objects as subjects for his still lifes. He classifies the objects that he wants to paint into organic and artificial. Most of his works depict the development of a fruit, from unripe to rotting. He admits that the arrangement of his still life objects can take an hour to four days.

The article focuses on American artist Jeremy Mann who explores a variety of vision in his paintings to nurture art. Paintings of Mann range from delightfully measured subimpressionist paintings of landscapes and cityscapes to the edgy and dark expressionist paintings with animal-like creatures that are somewhat unsettling. The paintings of Mann are built in multiple layers as he challenges himself to reinvigorate his piece by adding to it. It also notes that Mann uses tools such as knives, rags and his fingers.

The article features American artist Michael Klein. Klein says he needs inspiration so he can re-create a visual image for his work that would evoke emotions he want to express so that viewers of his painting could also feel it. The approach of Klein in painting is realism with an unspoken covenant with the viewers in communicating a sensual vision of the world. It also mentions the instructional DVD about painting flowers by Klein.

The article features American artist Peter Brooke. It describes his painting "Solstice Benatrahir." Brooke says he does not make sketches and generally works on 20 panels at a time while building layers of transparent glaze. He works on quarter-inch thick birch and maple panels and shellac for sealing. He finds that building transparent glazes affects his imagination. The influence of other paintings in his work is also noted.

The article features Christopher Blossom, an American artist who is fond of painting the sea as well as sailing vessels. The interest of Blossom is in painting older ships as he feels the romantic appeal and the subject about man-against-the-elements in old sailing vessels adding that his composition is more into abstract design rather than the specific subject. Blossom paints the sea in two blue shades including cobalt blue and ultramarine blue while his other colors include cadmium orange, alizarin crimson and raw sienna.

The article features Connecticut artist Kathleen Gay. The main goal of Gay as an artist is engaging and connecting with the viewer on a level beyond what is seen on the canvas. She coped with an extremely difficult illness and painting reportedly helped her escape the pain during such time. She asserts that the gift of painting came to her unexpectedly and she always believed there was a reason that this talent was given to her.

The article features American artist Steven Assael and his work. Assael is preparing for his solo exhibition "Steven Assael: Illusions of Reality" at the Naples Museum of Art in Florida. His paintings are described including "Preparation of the Bride," "Passengers," and an untitled work in progress. He provides his views on working from a live model. His painting technique is also discussed.

The article focuses on the work of Ben Fenske, an American artist who grew up in Minnesota and has lived in Florence, Italy. One of the author relates the first time he saw Fenske's paintings through online reproductions of his work on the website of Grenning Gallery. He relates reasons Fenske can display the extremely difficult style of technical accuracy, uninhibited brushwork, and emotive subject matter. Another author relates that Fenske's work spans a range of genres such as landscape, figures, interiors, and still life.

A biography of painter Andrew Wyeth is presented. He was born in 1917 in Chadds Ford, Pennsylvania and studied formally under his father N. C. Wyeth. As a child, his greatest influence was the work of artist Winslow Homer. He worked with the tempera medium and produced several works in the medium, such as the painting "Soaring," completed in 1950. Most of the subjects in his portraits are members of the rural poor. Some of his known works include "Her Room," and "Cooling Shed."

The article discusses the conceptual, creative and business strategies employed by artist David Gallup for painting the Channel Islands in California. According to him, he is amazed of the islands' topographical beauty and the unique species of wildlife and marine life living there. His initial concept was creating a series of paintings that will give an impression of the pure beauty and charm of the islands. His documentation project was finished in a span of five years with over 200 paintings.

The author compares the exhibitions of the paintings of John Singer Sargent in 1999 at the Museum of Fine Arts in Boston, Massachusetts and in 2010 at the Fenimore Art Museum in Cooperstown, New York to address the differences in public perception. The exhibition in 1999 is a success because the paintings appealed to the norms of the society with regards to the appreciation of art. However, in 2010 the subjects of Sargent's portraits became symbols of greed and contempt.

The article discusses the decision of artist Nancy MacDonald to focus on oil painting after studying with Bob Gerbracht in San Francisco, California. Her art studies at Middlesex Polytechnic in London, England exposed her to pastel paintings that did not interest her. She commends Gerbacht for helping her understand the possibilities of using pastels and acrylic paints, including the importance of being faithful to one's observation on the subject.