John N. Agnew, featured in Magazine (July/August 2012) has made a name for himself as a scratchboard artist. “I set small goals (measured in square inches) and constantly remind myself of how great it will look when I’m done, and how this tedium will pay off in the end.”In this free excerpt from the article, Agnew shares 12 scratchboard strokes to get you started.
The eyes are usually the most important element in my pieces. It is where I aim to have the most detail, contrast, and crispness, in an effort to draw the viewer to it.Below is a seven-step drawing demonstration of how I render an animal’s eye—in this case, the eye of a particular red-breasted nuthatch I happened to meet on a cold winter’s day, actually the shortest day of the year:1.
Oil painter Josh Elliott strives to paint tones and designs, not just picturesque scenes.by Bob BahrEvening Shadows, Swan Valley2006, oil, 12 x 16.All artwork this article privatecollection unless otherwise indicated.Josh Elliott is 33 years old, but in the best tradition of good artists—or anyone whose job requires continual growth—he remains an avid student of his craft.
In the spring 2008 issue of Workshop magazine, Colorado artist Ron Hicks discussed how breaking down his subjects into shapes, and capturing gradations of light in each, allow him to create the moody figurative and interior work he is best known for. Here we present his demonstration Noelle With a Black Dress.
My goal, says Andy Evansen, is to finish a painting in only three washes. Through simplification, bold brushstrokes, a bit of planning, and confidence, the Minnesota watercolorist capitalizes on the mediums ability to render a scene in a manner thats both believable and spontaneous.
An Artist Tests:Winsor Newton Watercolor MediumsMost of you would probably agree with Birgit O’Connor when she says, “I don’t have any tricks; I’m just painting with my brushes and water.” Nonetheless, there may come a time in your painting life when you feel the need to experiment with watercolor mediums, which are substances you add to paint in order to achieve effects that aren’t possible with pure transparent watercolor.