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The article features American printmaker Guy Maccoy and his success in printing with a screen. It states that the popularity of Maccoy may be attributed to his ability to adhere to the original paintings during printmaking. There are several materials that Maccoy uses when screen printing including a squeegee to force the paint to pass through the screen, a foundation board where the printing paper rests, and a sheet of silk.

The article features artist Vic Herman known as an unofficial ambassador of good will from the U.S. to Mexico. He is responsible for composing and painting the pictures exhibited at travelling exhibitions sponsored by the two governments. He was born in Fall River, Massachusetts and moved to a Mexican district of Los Angeles where he attended Mexican-American schools and grew to love Mexican-American culture. He was awarded with Medallion of Honor during the celebration of the founding of San Diego, California in 1969.

The article focuses on American etcher Roi Partridge. It cites Partridge's beliefs in art wherein success is a subconscious ability demonstrating the difference between a true expert and a beginner since real talent is dictated by the subconscious and carrying it out happens naturally. It offers details of his artistic and technical drawing methods wherein he works at his subject's location and only goes to his studio when working with his plates. Also featured are some etchings by Partridge.

The article examines the work of painter Peter Ellenshaw. It discusses Ellenshaw's painting system which is based on photography. His painting subjects consist mostly of landscapes or marines, and he usually omits the human figure in his landscapes. The article also provides a brief profile of Ellenshaw, and features some of his works, including "The End of the Road" and "Coastal View of Puffin Island."

The article profiles Western painter Ross Stefan. Stefan was born in Milwaukee in 1934, and painted his first oil in 1952, without any formal schooling in the art. According to Stefan, he does his painting in the studio from ideas and notes that are in his memory. In 1959, the Rosequist Gallery of Tucson, Arizona signed a 10-year exclusive contract with Stefan which guaranteed purchase of his works. His subject is the present West, painting landscapes with animals, with people or animals dominating the scene.

The article features artist Olaf Wieghorts. He is considered to be a front runner in the American West among its artists such as Frederic Remington and Charles M. Russell. Wieghorts claims that his life has been mainly motivated by his love for horses and their environment and the desire to record his impressions with paint, pencil, and etcher's stylus or wax. This is strongly seen in his paintings and is attested by the fact that he has spent almost all his life in their company and that he has a deep respect for them.

Several letters to the editor are presented in response to articles in previous issues including the tempera cover art by John Chumley in the June 1971 issue, "100 Years of the Salmagundi Club," by Worthen Paxton in the December 1971 issue, and the guest editorial "Artists in Prison," by Richard Weiner in an issue.

The article features painter, pen-and-ink illustrator and author Roy P. Madsen and explains his colored wax engraving technique in painting. It is inferred that a painting which used a colored wax engraving has a finished appearance that suggests a merging of old steel engraving and encaustic or wax painting. It is said that his works reflects the influence of John James Audubon, whose work he has studied for a long period.

The article features artist R. Brownell McGrew and his drawings which form the foundations for all the noteworthy paintings that he makes. Most of his paintings are reportedly based on the Navajo and Hopi Indians and their way of living on or near their reservations in Arizona and New Mexico. According to McGrew, in the preparatory stages of his work at least, the end justifies the means, so he would not hesitate to apply any expedient at hand that may save time or speed up his work.

The article features artist Bettina Steinke and her paintings of people. Her paintings include the Eskimos of Baffinland and the Indians of Central America. Her influences include American illustrators Harold von Schmidt, Donald Teague and Norman Rockwell. Steinke is married to photographer Don Blair. She made portraits of several famous personalities, including Dwight D. Eisenhower, the wife of Lyndon B. Johnson and Wendel Wilke.

The article features artist Marjorie Close and her paintings. Several of her paintings are presented, including "Compote With Eggs," "Mediterranean," and "Oriental Still Life." It also cites the book "Color, Form, and Composition," by Wana Derge where Close is also a collaborator. She has thoroughly studied Jay Hambridge's theories in "Dynamic Symmetry." Close is married to Frank Close.

The article presents artist Guillermo Acevedo who decided to paint and draw in the U.S. after running a successful commercial art studio in Lima, Peru. It focuses on his drawings which start with line drawings done directly with an india-ink ball-point pen without a pencil layout. He was born in Arequipa, Peru in 1920 of Chilean parents where his father was an architect. It indicates caricature as representative of his thinking and attitude in life that brought him into contact with notable individuals such as then U.S. Vice President Richard Nixon.

The article focuses on the partnership of artists Darrel Millsap and Robert C. Kinyon, founders of the Millsap and Kinyon commercial art studio. Millsap and Kinyon have common qualities and abilities including their efficiency and adaptability to paint in any required style. Both artists adhere to conventional drawing and painting methods, depend on their artistic skill and knowledge, prefer to use acrylic paint, depend on pen-and-ink drawings and employ variety of ink techniques. Theier's competence and versatility led to the success of their business.

The article profiles George Bartell, a commercial illustrator who lives in Palos Verde Estates, California. His love for cars is evident from the many illustrations that he has made depicting cars. He has even developed a reputation as an expert in automobile illustrations. It is observed that an important element of commercial illustration is the power of persuasion and he accomplishes this by portraying a thought.

The article focuses on the school of watercolor painting in California, which the author says is quite different from all the other schools that have developed in other places. In the 1920s, the California Watercolor Society was formed and has brought together artists like Lee Blair, James Couper Wright and George Post, who had all seen national recognition and some had even become part of the American Watercolor Society. According to the author, the aid and encouragement from the press had helped grow the California watercolor school.

The article features artist Donald Putman. Putman was born in Spokane, Washington in 1926, moved to Alhambra, California with his family, and joined the Navy when he turned 18. He studied art at Fresno State College, making money by painting signs, before moving to Los Angeles to study at the Art Center College of Design in 1951. He traveled throughout the country, following the Ringling Brothers Circus and others, painting the things he saw. It says that his paintings depict circus scenes, small communities and cowboy themes.

A biography of American artist Barnaby Conrad is presented. He was born in San Francisco, California in 1922 and started taking private art lessons at the age of eleven. While studying at the University of Mexico, he cultivated an interest in bullfighting, which led to his creation of artwork on tauromachy. His passion for bullfighting and art continued in Spain and Peru. He achieved commercial success with his portrait work, examples of which are portraits of singer Bing Crosby, actress Deborah Kerr, and writer Sinclair Lewis.

The article focuses on the art and life of sculptor Spero Anargyros from New York City. Anargyros recounts some of the projects he worked on through the years. He deplores that too many artists try to please critics when they should be depending on their intuition and says that art is emotional, not intellectual. He also asserts that one must create for an audience, or one's work is dead.

The article discusses the painting style of artist Franklin Jones. Jones reportedly turned to fast-drying polymer since oil paint dried slowly for a continuous-painting approach. It is stated that the foundation of the style of Jones of polymer painting is the egg tempera technique. The author shares that when Jones is ready for make art, he goes to the scene with a sketchbook and camera that is loaded with color film and fitted with a telephoto lens.

A biography of American realist painter John Koch is presented. He was born in Toledo, Ohio in 1909 and studied at public schools in Ann Arbor, Michigan. At nineteen, he moved to France and launched his career as a professional painter there. In 1933, he returned to the U.S. and started exhibiting in all leading American shows in New York. He was married to fine concert musician Dora Zaslavski and have no children. His works include the oil paintings "The Studio: End of Day" and "Woman Dressing."

The article features artist Douglas Gorsline. He is also a writer and illustrator of books and magazines. The opinion of journalist Marilyn Hagberg on the artworks of Gorsline is also cited. The books written by Gorsline are also presented, including "The Progressive Now, or, Modern Art Revisited." Gorsline was born in Rochester, New York in 1913 and studied art at the Yale University, as well as painting at The Art Students League of New York.

A personal narrative is presented which explores the author's experience of having a day tour of the Walt Disney studios in Burbank, California.

The article focuses on U.S. illustrator Robert Abbett. Most of his commissions are covers for paperback publications. He has worked on 23 covers for a "Tarzan" series. The author describes Abbett's paintings as strong and powerful, qualities necessary for getting attention in small-scale format. Abbett considers each job he undertakes as a new project by itself. Born in Hammond, Indiana in 1926, the illustrator took a bachelor of science degree at Purdue University. He studied painting, composition, and art history at the University of Missouri.

The article discusses the works of New York-based illustrator Raymond F. Houlihan and presents an in-depth examination of Houlihan's personal background, working environment, habits and artistic temperament. In the studio, Houlihan starts sketching loosely on paper using brush, pen, or colored crayon based on his thoughts and feelings. According to the author, Houlihan is proud of his handle of the drawing medium.

The author discusses the career of American painter Millard Sheets. Born in Pomona, California, he was educated at Chouinard School of Art in Los Angeles, California from 1925 to 1929 and became a professor at California-based Scripps College even without a college degree. Aside from working on architectural and mural artworks, he usually paints exhibition pictures in watercolor. Most of his paintings have been acquired by the Metropolitan Museum of Art in New York.

The article reviews the exhibition "Four Realist," held at the New Britain Museum of American Art in Connecticut in 1964 which featured the works of artists Harvey Dinnerstein, David Levine, Aaron A. Shikler, and Burton Silverman.

The article features Moissaye Marans, a sculptor. Marans' principle of peace, liberty and brotherhood and his deep religiosity influence all his sculptures. He believes that every work of an artist brings him closer to understanding God and the Mysteries of His Creations, that every great art work has features of a religious and metaphysical nature."Swords into Plowshares" and his various themes on images of Isaiah and Moses are some of his well-known works.

The article features John Moodie, an abstract artist and illustrator. Moodie is president of the Society of Illustrators, and creates work for book publishers and the commercial industry. He claims to have been greatly influenced by the style of Georges Braque, a contemporary of Pablo Picasso. Braque imposes abstract patterns on his paintings, most of which feature the city of New Jersey. A description of how Moodie works, and samples of such, are included.

The article profiles painter Gerald Mofchum whose works are said to be done on a style called Magic Realism. It says that the major characteristic of the said style is such accuracy of detail that the paintings appear more real than the subject. Mofchum regards himself as self-taught despite studying at a Brooklyn art school in New York for two years. Several photographs of his work are presented including "Still Life With Owls" and "The Model."

The article profiles U.S. painter Maxwell Stewart Simpson who excels in making oil and watercolor paintings. It states that the etchings of the painter are created in a purely decorative and imaginative manner. The author mentions that these etchings depict the exquisite drawing ability and talent of the painter. He adds that only few of his artworks involve shading.

The article provides information on painter Noél J. Daggett. He was born in Phoenix, Arizona, and studied at the California School of Fine Arts in San Francisco, California and at the Art Insitute in Chicago, Illinois. He was once a truck driver, a civilian illustrator, and a soldier for the Korean War, where he applied for corporalship and was denied. It recounts how he become popular since his first exhibition in Paris, France in 1962.

The article focuses on the work and artistic style of U.S. illustrator Leslie Saalburg. It explains that Saalburg's artistic process starts with an on-the-spot sketch of the subject and drawing relevant details. The sketch is then taken to his studio where it is laid out in the required size, traced on an overlay of tracing paper, transferred to the final illustration sheet and then color is applied. The author observes that Saalburg works with exact detail and his drawings are always carefully planned.

The article focuses on the works and artistic style of American illustrator Gil Walker. It states that though Walker had no formal art education, he was able to carve a niche in commercial illustration through persistent practice of his graphic gift. The author observes that Walker's method may be considered impulsive because he never used preliminary sketches or plan his work in any way. Walker explains that a tentative procedure destroys the natural spontaneity of his illustrations. Several examples of Walker's pen-drawn illustrations are provided.

The article discusses the changes in the field of watercolor painting in the U.S. from the late 1930s to the early 1960s. The author suggests that watercolor painting standard has improved but its power as an income-producer has waned. Many critics attribute the popularity of watercolor to its adaptability and versatility and the greatest development in this medium has come from the representational field. According to the author, the American Watercolor Society has also played a significant role in elevating the status of watercolor.

The article profiles painter Donald Purdy. According to Purdy, he does not use live models and he paints what he thinks and not what he sees. The author asserts that the beauty of Purdy's paintings lies in their tonal subtlety and exquisite color. He also describes the painter's design and composition as instinctive rather than calculated. The painter uses gesso-coated masonite on majority of his works.

The article profiles illustrator Edward Vebell. Vebell's illustrations appear in several publications, including "Reader's Digest," "Sports Illustrated" and "Sunday Mirror." Most of his drawings are made from photographs taken with a Rolleiflex or Polaroid and his neighbors serve as models. He admits that he is not a great admirer of the studio style of art.

The article features painter-illustrator Russell Hoban. His work ranges from sports themes, to industrial machinery, and even books for children. His personality is described with emphasis on his choice to direct his own training and education. He was born in Lansdale near Philadelphia, Pennsylvania in 1925 where his father stimulated the development of children to cultural achievement. His decision to study illustration at the Philadelphia Museum School is mentioned together with the progress of his unusual career.

The article focuses on Danish born and trained artist Erik Blegvad. He attended the Copenhagen School of Applied Art in Denmark where he received training in freehand and mechanical drawing, perspective, lettering, and commercial design. The author describes Blegvad as a consummate draughtsman whose drawings are considered as little gems. He believes that his work does not follow the accepted compositional forms. Blegvad was born in 1923.

The article describes Victor Kalin's method for creating illustrations for paperback books and record albums in which he is concerned with unusual effects and new techniques. The methods and styles used by Kalin range from the realistic to the abstract and demonstrate his fondness for experimentation. A number of the tricks that he applies to product unusual effects for both black-and-white and colored drawings are presented.

The article provides information on painter, illustrator, portraitist, and caricaturist Allen Glicksman and his works. It is stated that he was born in 1909 in New York, and married to Charlotte Simmons. It is also mentioned that he was a commercial artist by day and a student at night at art schools including the Industrial Art School of New York, Grand Central Art School, and the Art Students League. Illustrations of his works, including "Portrait of Barbara" and "Park Benches," are provided.

The article profiles Arthur Shilstone, an artist and freelance illustrator whose works can be divided into the four categories of illustration, watercolor, reportorial assignments, and collage. He took an illustration course at the Pratt Institute in 1941 in Brooklyn, New York City. He usually applies the pen lines in his combined line and wash illustrations after the wash has already been applied. There are no structural lines in his illustrations that he creates as if they were paintings.

The article discusses the sculpture style of Adlai Hardin. Hardin reportedly completed a figure relief mural of beige linden wood on a dark cherry wall for the Interchurch Center in Riverside Drive, New York. It is stated that Hardin has a strong inclination to religious subjects which can be traced to the theological interests in his family. The author shares that when Hardin accepts a project, he first makes a number of small sketches with pen and ink on tracing paper.

The article provides information about illustrator, caricaturist, cartoonist, and graphic designer Edward Sorel. He was born in 1929 in New York, where he attended public schools like the High School of Music and Art, New York's Cooper Union, and the Workshop School. He designs record albums and jackets, produces advertising art, and provides complete picture stories for magazines like "Architectural Forum," "Mademoiselle," and "Today's Living."

The article focuses on the work of Italian sculptor Aristide Berto Cianfarani and presents photographs of several of his works. The author discusses the personal background of Cianfarani and examines the concept of commercial sculpture and how Cianfarani applied the techniques of commercial sculpture in creating his works. According to the author, Cianfarani believes that nearly all of his work could be categorized as realistic.

The article discusses watercolorist Tom Hill's accomplishments in travel and art. A member of the American Watercolor Society, he makes a living from commercial illustrations. Hill argues that good commercial graphic art does not suffer when compared to fine art and that accomplishments are being achieved in the two fields. His travels to countries in Europe, Asia, and Central America are sources of illustrations he has done for publications such as the "Tribune Sunday Magazine" and "Redbook."

The article features cartoonist Paule Stetson Loring. He was born in Portland, Maine in 1899 from an American father and Norwegian mother. Loring also worked as insurance man, truck driver, foundry worker and mechanic, among others. In 1922, Loring worked at the "Springfield Union" as a cartoonist and artist, covering such personalities as Calvin Coolidge, vice president of the U.S.

The article profiles sculptor Christian Petersen. Petersen was born in Denmark but grew up in the U.S. He attended the Newark Technical School of art in New Jersey. He specializes in steel engraving and steel die cutting for medal stamping. He is considered one of the top commercial medalists in the U.S. Some of his works include the stone head of Abraham Lincoln, the bas-relief panel at the Iowa State College and bronze portrait of Iowa Governor George W. Clarke.

The article profiles painter Paul Puzinas. Puzinas was born in 1907 in Riga, Latvia. He received formal art training at the Latvian National Academy. In 1947, he and his wife emigrated to the U.S. Puzinas did painting demonstrations before art organizations in California, participated in art debates on television and radio and taught private painting lessons. His painting "Refugee Mother" won first prize in the Grand national Exhibition of the American Artists Professional League.

The article focuses on illustrator Anthony Saris. It discusses his views on commercial art and fine art. He defines commercial art, applied art preferably, as art applied to a utilitarian purpose that should be found fully as original, imaginative, creative and unrestrained. His experiences as an illustrator are further discussed and samples of his works are included.

The article profiles American oil painter Bernard Riley of Bridgeport, Connecticut. He has no formal art training but studied briefly with painters like James H. Daugherty, Tony Balsom and Carl Anderson and has won awards for his works. The author describes Riley's painting procedure as unsystematic and spontaneous and presents samples of his works.