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Cuong Nguyen explains his method for creating realistic portrait and figure paintings.

How do you define contemporary realism?

What artists want to paint and what collectors wish to buy do not always look the same.

"My real art education was formed and continues to this day through careful observation and learning how to see." From "preposterous" art methods in the 1980s to glorious days of studying with masters, Garin Baker shares his inspiring path as an artist.

The skill of good observation, the ability to convey the three-dimensionality of form convincingly, and the cultivation of edge, color and value sensitivity—all stem from an understanding of the nature of the underlying structure.

From oil to pastel to watercolor, Mario Robinson explains how his body of work (in media and in subject) could be likened to the acts of a play: rising action, climax, and resolution.

Nanette Fluhr's portrait paintings have a personal touch that transcends the artist/model relationship, inviting the viewer to feel a similar sense of connection within her works. In this Q&A with Daniel Maidman, she explains how.

"From my earliest interest in art, the human figure and face were prominent subjects for my work. Even as my style, scale, and mediums varied over time, I was consistently drawn to the figure for inspiration. I was therefore disoriented and nervous when, seemingly on their own, the figures that had long populated my paintings disappeared."

An essay by Ghanaian-born painter Samuel Adoquei on historical artists and timeless beauty, the difference between skin tones and flesh tones, and ways to capture beautiful skin tones in figurative art.

How do you capture the nature of birds in flight and at rest? Michael Dumas shares both his inspiration and his process for his winning work, "Fox Sparrow Study."