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The article offers information on several tips and approaches which can be followed for drawing water reflections in landscape paintings. The topics addressed include details on the tips comprising difference in the darkness in the colours of water with sky it's mirroring in such that the water should be dark in comparison to the sky.

The article profiles 20th-century Chinese painter Zao Wou-ki, focusing on how his emigration to Paris, France led him to integrate Eastern and Western painting techniques. Particular attention is given to Zao's influence on the post-World War II Abstract Expressionist movement before discussing his use of Chinese brushwork in European-style landscape paintings.

The article offers guidelines, tools and techniques for beginners as scenic artists. The author gives basic information that a beginner can use to enhance scenic art. Some materials and tools including paints rollers,cleaning brushes, sponges and rollers are suggested. Basic techniques of scenic painting are also discussed.

The article offers information on the outdoor landscape painting workshop organized by William Jameson in Lowcountry of South Carolina. It mentions that Jameson developed education and encouragement as well as share painting experiences to encourage participants during well-balanced program in the workshop. It says that Jameson provides instruction on outdoor landscape painting which includes simplicity in plein air painting, subject of the painting, and atmospheric perspective while painting.

The article features the painting style of veteran artist Betty Carr, which highlights the fundamentals of light and color in workshops held in France's Loire Valley and at a studio in Scottsdale, Arizona. Carr introduces to her students at workshops a solid array of visual fundamentals including color intensity and temperature, the relationships of tonal values, and the quality of edges. Moreover, the Arizona workshop had focused on still lifes the workshop in France was done on plein air.

The article offers information on the type of painting taught at acrylic painter William Hook's workshop at the Donner Ranch in Taos, New Mexico. It mentions that Hook teaches his students the art of painting landscapes and before starting Hook asks his students to carefully observe the view, memorize it and make its mental note. It further mentions about the various facilities offered to the students at Donner Ranch.

The article features Kathy Miller Stone, a painter who uses poured paint to create landscapes. A native of Baton Rouge, Louisiana, Stone plans out her drawing by pondering the values and colors in graphite. She uses various brush sizes and shapes but prefers the No. 12 kolinsky with fine point. Stone uses a Winsor & Newton masking fluid if she wants to remove it in less than a month.

The article offers step-by-step instructions for painting a British rural landscape of history and horticulture.

The author discusses how to make a landscape painting using wet paper. Several factors to be considered in working wet-in-wet include controlling and being sensitive to the dampness of the paper, amount of water mixed with the paint and performance of the brush. To establish the arrangement of colors and forms, a compositional study of the subject is necessary. The next step is to choose a sheet of Arches paper or Chinese or Indian Village paper and soak it in water. Tape the paper into a sheet of plywood and start painting while the paper is still wet.

The article offers tips to those who are interested in taking on watercolor landscape painting based on the experiences of several artists. Dan Stouffer shares his experiences from his early days as a painter to becoming a full-time watercolorist and his suggestions for dealing with difficulties and challenges along the way. Penny Stewart explains how she developed her own style in painting landscapes. Phil Bean offers an overview of his painting procedures and suggestions for doing watercolor painting and learning about color.

The article focuses on ways watercolor artists can strengthen their landscape paintings. It relates that one should be able to establish a standard routine that clarify the elements of landscape and organize their approach to each new painting. It presents the painting technique of Peter L. Spataro who says that he tries to clear his mind of preconceived compositional ideas or possible subject. It explores the method of Thomas M. Stade who considers value sketch as an essential part of his creative process.

The article features landscape painter Donald Jurney. The influence of the Hudson River School on his paintings is cited, with landscapes of idealized nature, industry and modern technology treated as understated elements and with only the subtle intrusion of people. His free-painting style is explored and emphasis is given to his being a self-taught artist with art books as his only teacher.

The article features watercolor artist Jack Lestrade and his landscape artworks. Lestrade is described as a self-taught artist with an unorthodox way of working as he rarely approaches each painting in the same manner, depending on how he feels at that particular time or subject matter. His approach and process of painting, the type of art materials he uses, his preferred technique and color tones are discussed. The artist believes that one can achieve better results by experimenting with other methods and not restrict oneself to what was learned.

The article features American landscape painter Tim Saska. He was born in Ohio and raised in Michigan but in the early 1950s, he moved to California with his parents and studied at San Jose State College. He also received a Master of Fine Arts degree at Columbia University in New York. He works on acrylic and likes the effects of light on objects, stating that he wants to do a combination of optical sensations similar to the 1950s Action paintings. Samples of his work are presented including "Lockerman Road," "Autumn Waterline" and "Summer Afternoon."

An essay is presented which explores the ice and fire-themed landscape paintings of Vermont artist Eric Aho. It explores the hue combinations in various wintery landscape paintings of Aho including Ice Storm which portray a wintry landscape that is both tranquil and unsettling and Last Ice April which shows a calming palette of pastel colors that indicate a cheerful spring day. It discusses the fire-themed paintings including the River Smoke which show the smoldering remains of a forest fire.

The article offers step-by-step instructions for painting an arctic Icelandic landscape.

The article profiles Jennifer Vranes, a landscape painter in the U.S. It states that Vranes is an avid traveller to beautiful places around the world which inspires her to paint incredible sceneries. It describes the technique of Vranes in which she uses a palette knife to sculpt the paint onto the canvas. It outlines the works of Vranes which include "Heaven Above," "Aspen Symphony" and "Tuscon Poppies."

The author offers insights on creating nature-themed paintings. Topics discussed include the creation of images that instill connection between nature and humanity, the natural environment which serves as theme for landscape paintings, the use of colors and shapes to express emotions, and the unconscious wilderness that the author experiences while painting.