Helen Klebesadel offers tips on how to introduce the sometimes daunting medium of watercolor to novice painters.by Leanne MacLennanCedar Dance II2004, watercolor,30 x 22.All artworkthis articlecollection theartist.Watercolor instructor Helen Klebesadel fondly refers to watercolors as rich hues that are created by light passing through transparent pigments.
Woods and forests, meadows and fields, mountains and deserts: Cathy Johnson covers these and more in her new book, Painting Nature in Watercolor: 37 Step-by-Step Demonstrations Using Watercolor Pencil and Paint. She writes, “There are so many reasons to work outdoors: to drink in the beauty of nature; to find fresh, evocative, inspiring and challenging subjects; to spend time in the quiet places; to capture the liveliness of birds or the grace of a red fox; to learn about your environment; to perfect your skill; and just to be out where it’s achingly beautiful.
Ned Mueller discussed how to properly mix the right colors with which to convey a scene.by Bob Bahr“Many students want to learn as much as they can in an expedient manner, but it does take some years to achieve a fairly competent level,” says Mueller. It is what most beginner, and some advanced, students need, but if you gave a workshop and announced that the students would do black-and-white value studies for the week, you wouldn’t get too many sign-ups.
The grand scale of Troy Wingard’s pastel portraits and figures (featured in the December 2010 issue of The Pastel Journal)—some of them up to 8 feet tall—creates a vision viewers feel they can almost walk into. Finding a surface suitable for pastels at this size, however—a typical format is about 3×4 feet—was a challenge at first, but Wingard came up with a homemade solution.
By Jane JonesWith so many paint colors to choose from, why would a painter want to work with a limited palette? One good reason would be to create color unity or harmony in your painting. For example, I painted Pearls Gold (at top) almost entirely with the three tube colors you see below.I chose each of the above colors to correspond to a main element in the painting; Old Holland neutral tint for the background, Winsor Newton Indian yellow for the drapery, and Winsor Newton rose madder genuine for the roses.
A look at the anatomical structure of the neck, and some helpful figure drawing tips from Drawing magazines Understanding Anatomy series.Read other features in the Understanding Anatomy series:Drawing the LegDrawing the EarDrawing the Armby Ephraim RubensteinDissection Study of the Neck 1982, graphite, 9 x 12.