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Painting the Mouth
by William A. Schneider page 6
Jeffrey Reed: Introducing the Basics ofPainting
by M. Stephen Doherty page 12
Al Gury: Teaching Fundamentalsin a Historic Studio
by M. Stephen Doherty page 20
How to Create Your Best Paintings Ever
by Mary Whyte page 32
3 Views of the Same Scene
by Bob Bahr page 40
Johnnie Liliedahl: Using theOld Master Grisaille Method toManage
Values and Opacity
by M. Stephen Doherty page 48
Ismael Checo: Color, Richness, and Light
by John A. Parks page 64
Seeing Nature With Fresh Eyes
by Molly Siple page 72
Painting Classical Floral Still Lifes WithSkill and
Understanding
by Scott Royston page 80
Using Subtle Tones to Express Deep Emotions
by M. Stephen Doherty page 88
Joseph McGurl: Developing a CriticalAdvantage
by M. Stephen Doherty page 96
Jeffrey R. Watts: Learning the Structure &Discipline of
Painting Controlled Chaos
by M. Stephen Doherty page 110
AMERICAN
ARTIST
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HighlightsfromMaster Teachers
PaintingInstruction
8/9/2019 Master Teachers #2 2009 eMagazine
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4 highlights from master teachers
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EDITORIAL
EDITOR-IN-CHIEF
M. Stephen Doherty
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Synthesize What You LearnAll of the articles in this issue were
originally published in American Artist orWorkshop magazine. We
organized them into this Highlights magazine so thatyou would have
a convenient guide to the best instruction available for creat-
ing artwork with a variety of art media and in several different
styles.Often the best art teachers, including those profiled in
this issue, have
strong personalities and convictions. Those strengths help their
studentsmake great strides, but they can also restrict the
development of an inde-pendent and individual form of expression.
The challenge, therefore, is for a
student to take as much guidance from a great teacher as he or
she can man-age and then to seek additional instruction to expand
on that base of knowl-
edge. These articles suggest ways of starting with a strong
instructor and syn-thesizing that persons approach with instruction
from other great teachers.
Jeffrey Reed has earned his place in art heaven for working
patiently anddiligently with students who enter his class with
almost no understanding of
drawing and painting (page 12). In a calm, organized, thoughtful
way, heintroduces them to the basic concepts of relative value,
brush handling, color
mixing, and composition, and he helps them begin to discover
their individ-ual personalities as artists.
Johnnie Liliedahl probably has more experience than most
teachers in
offering both short- and long-term classes in drawing and
painting (page 48).She has been providing detailed instruction in
classical techniques for years,
both in art schools and workshops. What is most remarkable about
her teach-ing is that almost everyone who participates in one of
Liliedahls classesleaves with a solid understanding of how to apply
the concepts and skills he
or she was taught.Those who are ready for the challenges of
painting landscapes outdoors
couldnt find a better teacher than Joseph McGurl (page 96). He
does anexcellent job of explaining how to translate the forms,
colors, and atmosphere
found in nature into oil paintings, and he is generous in
sharing the knowl-
edge and experience that make him one of the best landscape
painters in thecountry today.
M. Stephen Doherty
Editor-in-Chief
[email protected]
Editors Note
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ARTIST
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Highlights
