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Small Beauties of Everyday
Stella Alesi: I paint exclusively with oils on Ampersand’s 2" Deep Cradled Gessobord™. I used to have my painting panels made for me by a friend, and although they were good quality, I could never get the ultra-smooth gesso surface I wanted without hours of sanding. Ampersand’s gesso surface is flawless and perfect for the precise work I do.
Emphasizing Brush Strokes and Surface Textures with Oil Paint
Andrea Pramuk: I discovered the Gessobord™ panels about 5 years ago while looking for a rigid alternative to stretched canvas. For the heavily detailed and smooth oil painting I was doing, Gessobord™ was the perfect choice.
The Endurance of Bay Area Figurative Art
Bruce Klein: Many beginning students in some way question whether they have ability, and many students over-control their creative processes, trying to ensure successful outcomes. What Joan Brown and Elmer Bischoff did for me, I try to do for them.
A Matter of Influence: Emily Carr and Me
Robert Amos: Emily Carr is, to my mind, the most important artist Canada has produced. To live and create in Victoria, British Columbia, the city which was her home, allows me to share her insights and inspiration at every turn.
Thirty-Six Views of Mount Fuji, Thirty-Six Views of Mount Rainier
Kristina Hagman: When I moved to Seattle a dozen years ago, I kept seeing Mount Rainier out of the corner of my eye as I was going about my busy life. Because of this, I have embarked on a series of woodblock prints dedicated to "Thirty-six views of Mount Rainier."
California Watercolor: The National Context and Why the Medium Continues to Matter
Paul J Karlstrom: Former West Coast Director of the Archives of American Art, Smithsonian Institure, based this article on his essay for the Hood Museum of Art Exhibit 'Coastline to Skyline'.
How to get more out of your Painting Surface: Oils on Gessobord
Working with Oils on Gessobord: Artists Jennifer Phillips walks through the creation of her painting 'Starting Point' while exploring the contrast between hard and soft edges in her work.
New DANIEL SMITH Enviro-Friendly Watercolors - Keeping it Green!
EnviroOxide Pigments are used in making three of DANIEL SMITH EXTRA FINE WATERCOLORS. They are: Enviro-Friendly Yellow Iron Oxide, Enviro-Friendly Red Iron Oxide & Enviro-Friendly Brown Iron Oxide and here is how they are recovered.
Stained Paper Collage - Watercolor Demonstration
Brenda Swenson demonstrates how to as add brilliance and depth to your watercolor paintings with this stunning technique.
Last Light: A Demonstration with Jan
Jan Hart's demonstrates the use of her Amazing Mixes, while painting 'Last Light'.
The Art of Watercolor Journals
Artistic ideas take shape in sketchbooks and journals?they are ideal for recording experiences and practicing one's craft.
Poetic Spaces - Watercolors on Aquabord
Ali Cavanaugh describes the benfits of working with Aquabord and some of her own techniques for perfecting skin tones and fabric.
Mixing Greens For Foliage
The startling lavender and the yellow-greens are perfect compliments. The greens that surround the trunk are neutral mixes of blues and yellows. Use these pigments to mix the greens and supporting colors.
Creating Fall Foliage
Fall colors jolt us out of our familiarity with the greens and blues of summer. Every year, almost overnight, there is an explosion of warm, analogous colors-the reds, oranges, and yellows of the fall foliage. A deciduous tree makes a great subject to experiment with fall foliage colors. It's important to understand the tree before you paint it. If you can, make studies of the individual leaves, the structure of the foliage, and the light and dark values.
Glazing In Watercolor
Watercolor Glazing is simply the stacking of individual colors or layers of the same color, allowing the paint to dry between layers (or glazes).
Yarka Sauce
As a student of classical art techniques and a professional Portrait artist, I was intrigued after seeing a number of incredibly sensitive yet powerful drawing by the 19th Century Russian artist, Ivan Kramskoy. These breathtaking drawings were created using a Russian medium I had never heard of before, something called 'sauce' (saw-oose).