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SABLES — Not just for the studio!

PAINTING CHILDREN

3 Ways to
Capture the
Essence
of Youth
LESS IS MORE
Achieve Greater
Depth and Light
With a Limited Palette

One artist’s journey to


Creative Self-Discovery

3 Artists + 9 Glass Objects


= 1 Revealing Still Life Challenge

5 STEPS to Loose edges and


Light-Filled dynamic color bring
life to Bev Jozwiak’s AU G U S T 2 017
Scenes p. 59 figures. p. 40 watercolorartistmagazine.com
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August 2017

features
23
Take Three
A trio of painters stage a
still life painting exercise—sight
unseen—through social media.
Plus, they share their tried-and-true
tips for painting glass.
BY LAURIE GOLDSTEIN-WARREN,
ANNE HIGHTOWER-PATTERSON WHITE
AND SUSAN M. STULLER

23 30
A Passage to India
Ramesh Jhawar unleashes vibrant
color and intense light to showcase
his energetic street scenes of India.
BY KELLY KANE

40
Child’s Play
Classic portraiture is old school
when it comes to painting kids.
Instead, capture their true essense

40 50
with varied colors, blurred edges
and natural poses for a more
modern approach.
BY BEV JOZWIAK

50
Room to Dream
By combining the unpredictability
of watercolor with a compositional
foundation of abstract shapes,
Pasqualino Fracasso’s paintings
transcend the ordinary.
BY AUSTIN R. WILLIAMS

30
Watercolor Artist | August 2017 1
August 2017

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4 Editor’s Note online
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Celebrate World Watercolor Month. artistsnetwork.com/contactus
BY MICHAEL WOODSON
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11 Creativity Workshop
11 artistsnetwork.com/get-the-
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BY KRIS PARINS
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art instruction & advice


59 Watercolor Essentials artistsnetworkuniversity.com
Capture light and shadow using artistsnetwork.com/
art_online_seminars
just three colors.
BY LY NN FERRIS artist community
wetcanvas.com

59
artistdaily.com
72 Picture This
video workshops
BY BEV JOZWIAK
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Watercolor Artist (ISSN 1941-5451) is published six times a year


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2 watercolorartistmagazine.com
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editor’s note
AUGUST 2017

Editor-in-Chief Kelly Kane


Art Director Wendy Dunning

I
Senior Editor Beth Williams
Associate Editor McKenzie Graham ’m not one for making New Year’s
resolutions. The pressure of a
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SVP, General Manager— boxes and seeing the fruits of my labor in real time. Perhaps that’s why
F+W Crafts Group John Bolton
Kris Parins’ take on the “30 Paintings in 30 Days” challenge (Creativity
SVP, General Manager—F+W Fine Art, Writing
and Design David Pyle Workshop, page 11) so appeals to me.
SVP, General Manager—F+W Outdoors & When she needed to reignite her painting habit, she chose a chal-
Small Business Groups Ray Chelstowski
lenge with a manageable timeline, made her own rules (and broke them
VP, Manufacturing & Logistics Phil Graham
Newsstand Sales Scott T. Hill whenever it suited her needs) and lived with the paintings she created
Scott.hill@procirc.com throughout the duration of the project.
EDITORIAL OFFICES I get it, though, that some people draw energy and inspiration from the
10151 Carver Road, Suite 200, Blue Ash, OH 45242 shared experience of making New Year’s resolutions. But don’t worry. You
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Watercolor Artist and the issue month and year.
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N E W S S TA N D D I S T R I B U T I O N yourself—and your tools—out of your comfort zone and see how you—and
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Tel: 201/634-7400. Fax: 201/634-7499. daringly taking sable brushes into the field.
Attention Retailers: To carry Watercolor Artist in your stores, No matter how you like to challenge yourself, you’ll find plenty to
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4 watercolorartistmagazine.com
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featured artists

Pasqualino Fracasso Bev Jozwiak Lynn Ferris


pasqualinowatercolour.com bevjozwiak.com lynnferris.com
Italian Pasqualino Fracasso (page 50) began Whether she’s painting babies, birds or Lynn Ferris (page 59) has long been focused
painting in watercolor in 2004, when he ballerinas, Vancouver, Wash.-based Bev on strong light and shadow in her paintings.
was drawn to its fluidity and spontaneity, Jozwiak (page 40) says of her subject A signature member of AWS and the National
which complements his flexible approach to matter, “It’s not the subject itself that draws Watercolor Society (NWS), her work has been
reproducing the world. His award-winning me in, but a feeling I get when looking at it.” featured in multiple editions of Splash: Best
paintings have been featured in national She’s a signature member of the American of Watercolor (North Light Books). She also
and international exhibitions, including the Watercolor Society (AWS), Watercolor West teaches painting workshops throughout the
Shenzhen Watercolour Biennial 2013, in China. and “others too numerous to mention.” United States.

Cathy Johnson Kris Parins Ramesh Jhawar


cathyjohnson.info krisparins.com rameshjhawar.com
Intrepid sketchbook artist, teacher and Following a career in graphic design, Kris “My journeys and meandering help me
wanderer Cathy Johnson (page 15) is a pro- Parins (page 11) has channeled her creativity narrate my artistic tales,” says self-taught
lific plein air painter and the author to watercolor since 1999. She’s a signature Ramesh Jhawar (page 30). A realist painter,
of 35 books, including Artist’s Sketchbook member of AWS, NWS and the Transparent he plays with light and shadow to make
(North Light Books, 2016). She offers online Watercolor Society of America, and her everyday life in his native India look “dreamy
art classes and spends as much time as award-winning work has been featured and surreal.” His work, which has appeared
possible in nature, paintbrush(es) at the in Watercolor Artist and the Splash Series in both solo and group exhibitions through-
ready for her next outdoor adventure. (North Light Books). out the world, has earned many awards.

6 watercolorartistmagazine.com
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31 Days of Watercolor
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our favorite medium.
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I t truly is Christmas in July


for us, because July is World
Watercolor Month! Our friends over
expression across the globe, and bear
witness to the amazing effects the
medium we love has to offer.
us by simply tagging any work in
watercolor (or gouache) that you post
online with #WorldWatercolorMonth
at Doodlewash have been helping World Watercolor Month encap- throughout the month of July.
us celebrate watercolor throughout sulates the very essence of what art For inspiration, check out Kris
the year with monthly art chal- should do: It brings people together. Parins’ take on the “30 Paintings in
lenges, but thanks to this officially Whether you’re a master watercol- 30 Days” challenge (on page 11). See
recognized holiday, we’re given the orist or you’re just getting started, doodlewash.com for more informa-
opportunity to share this artistic we welcome you to celebrate with tion about World Watercolor Month.

8 watercolorartistmagazine.com
Watercolor News & Views
BY M IC H A E L WO O D S O N

“Art is the only serious thing in the


world. And the artist is the only
person who is never serious.”
—Oscar Wilde

a stamp on the art world


The United States Postal Service is honoring the centennial
of Andrew Wyeth’s birth with a pane of stamps inspired by the
watercolorist and 12 of his notable works. Born in Chadds Ford, Pa.,
Wyeth’s dedication ceremony will take place at the Brandywine
River Museum of Art 100 years to the day after his birth on July 11.
Coinciding with the dedication is the exhibition Andrew Wyeth: In
Retrospect, a collection of over 100 of the artist’s paintings and
works on paper, opening June 24. Read more about Wyeth and the
exhibition at brandywine.org.
envision
more
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The cover is protected by
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strathmoreartist.com.

Watercolor Artist | August 2017 9


m st-see show

Newport, R.I.
Summer is the season for road trip-
ping, and the stops along the way
are often as memorable as the final
destination. In an exhibition at the
Newport Art Museum, watercolor
artist Peter Hussey showcases a
selection of work that explores
those experiences and out-the-
car-window sights in Stops Along
the Way. His paintings depict New
England, with its diverse architec-
ture and unique, small-town charm,
the likes of which continue to make
New England an attractive place for
out-of-towners.
“My paintings are meant to be
pleasing to look at, and at the same
time, intellectually stimulating,”
Hussey says. “For some, they’re
what they are—a window, a roofline,
a door ajar. For others, owing a
large degree to my use of close
perspective, they’re thoughtful
abstractions of lines and surfaces
caught in the push and pull between
what’s near and what’s far away.
I elevate the simplicity of my sub-
jects and invite my viewers to reach
their own conclusions.”
“Stops Along the Way” will be
open through August 6. For more
information on the exhibition, visit
newportartmuseum.org.

Torn Screen (watercolor on paper, 34x28)

10 watercolorartistmagazine.com
creativity workshop
BY K R I S PA R I N S

30 Paintings in 30 Days
Looking for a way to break out of an artistic rut or explore your
creativity to the fullest? Try a self-imposed, short-term challenge.

F or better or worse, in 2016


I gave myself permission to take
a break from my painting career
and not feel guilty about my lack
of artistic productivity. My father
had recently passed away, and my
already tenuous painting routine
was broken by a busy travel schedule.
I’d also met some career goals and
was at a turning point.
While I appreciated the time off,
as the year grew to a close, I started
to worry that I had lost momentum
and might not be able to get back
into a regular painting habit. I felt
that I needed to make painting a
priority again, not something I fit
into the spare spaces of my life.

The Challenge
With 2017 on the horizon, I started
to notice artists on Facebook men-
tioning “30 paintings in 30 days”
challenges beginning in January,
a kind of New Year’s resolution for
artists. This struck me as the perfect
discipline to get back to working
steadily. As a former graphic designer,
I knew that I did well with deadlines.
Although I didn’t participate in
any of the organized challenges,
I outlined my own parameters. I set
up my challenge to publish to an
album on my Facebook artist’s page
and to my website, thereby creating
some built-in peer pressure to keep
me motivated.
While some of the online chal-
lenges had specific requirements,
I quickly set up Shine on Three Apples (watercolor on paper, 7x5) as a still life on my art table
and completed it in about an hour. I created rules that worked for me—
a few self-imposed guides to get

Watercolor Artist | August 2017 11


r r

me started and to give the painting


series some consistency.
If you decide to try a challenge,
I’d encourage you to come up with
your own structure and rules based
on what you’d like to get out of the
monthlong experience. A good way
to overcome the intimidation of
facing 30 works is by minimizing
your daily choices.

The Prepwork
To get ready for my challenge, I set
up a small palette with my chosen
colors (see Rule 4, opposite), tore my
paper into 6x8-inch pieces and pen-
ciled in 5x7-inch borders. I wanted
to be ready to go when it was time to
paint instead of spending valuable
time getting ready.
Lake Dreams (watercolor on paper, 10½x14½) was a plein air piece that I pulled from my I also ordered precut mats, foam
unfinished painting pile and completed to count as one of my 30 paintings.
core backing and clear sleeves so I’d
be able to see my day-to-day prog-
ress in the form of finished pieces.

lessons learned The Rules


• Painting becomes easier when it’s done more often. Beginning is Here’s where I started—and why
the most difficult part, but I found that if I didn’t sweat the subject I decided to branch out midway
matter and got started first thing in the morning, I felt good about my through the month.
creative self for the rest of the day.
1. THEME: from life only; no reference
• It’s not necessary to have a four-hour block of uninterrupted time to
photos allowed
be productive. Some days I’d steal 20 minutes here and 15 minutes
I exercised my observation and draw-
there, all in the interest of meeting my daily deadline, and I was OK
ing skills by starting with subjects
with working that way.
from life. Later, however, I found
• Small paintings can take as much time and mental energy as that the small paintings were good
medium-sized ones. I concluded that I’d prefer to work no smaller studies for larger paintings I had in
than a quarter sheet. mind—and I allowed myself to use
• I’m a studio painter at heart. Plein air can be exhilarating, but I work photo references when it came to
better in the comfort and quiet of my own space. these pieces.
• Drawing is its own reward. After years of treating it as a means to an On days when I was short on
end, I rediscovered the expressive joy of putting pencil to paper. ideas, I pulled paintings from my
stash of unfi nished pieces and
completed them. They counted as
part of the challenge—and I reduced
my “to-fi nish” pile in the process.

12 watercolorartistmagazine.com
I’d been procrastinating doing a formal portrait of my old dog, but a It was easy to bring the hanging flowerpot into the studio to serve as
quick sketch from life captured his expression in Jack (watercolor on a subject for My Annual Begonias (watercolor on paper, 7x5).
paper, 7x5).

If you’re considering a theme, you have on an 11x15-inch quarter sheet, Use the surface with which you’re
might choose a genre (still life, por- so I allowed myself to indulge in a most comfortable—or take the
trait, animal, landscape), a specific few of the larger sizes, too. opportunity to experiment with a
subject (self-portrait, your breakfast, Whatever size(s) you choose, new-to-you substrate.
a garden) or a way of working (plein consider using standard formats so
air, time limits, new materials), and that you can place your works in 4. PAINT: Mission Gold (Mijello): cobalt
experiment with different styles and ready-made mats and frames. No. 1, French ultramarine blue deep,
color combinations. aureolin yellow and permanent rose
3. PAPER: Arches 300-lb. rough I selected this limited color palette
2. SIZE: 5x7 inches As the challenge progressed, because it’s quite versatile, can
Starting small was fast and easy— I ultimately switched to 140-lb. make dark darks and creates lovely
initially. After the first dozen or so cold-pressed. I found that the 300-lb. granulation. This was one rule I
paintings, however, I found that rough surface became too restrictive wasn’t tempted to break during the
I was spending nearly as much and didn’t allow for some of the line month, although I did need a bit of
time on a 5x7-inch piece as I would work and detail I wanted. burnt sienna at times.

Watercolor Artist | August 2017 13


r r

A limited palette may help to be sure to build in extra time for last-
take the guesswork out of your minute surprises on your calendar.
painting choices—or may be too It’s about progress, not perfection.
limiting depending on what you
hope to achieve. For example, if 7. RULES: made to be broken
you’re using your challenge as a time If something wasn’t working, I didn’t
to experiment, you may want to hesitate to change things up—and
work with more colors, not fewer, you shouldn’t either as you explore
to refine your color-mixing skills. your creativity.
ART WORKSHOPS
ON DEMAND 5. BRUSHES: No. 8 synthetic round with The Follow-Up
a good point Once each painting was completed,
Improve your painting at your own I believed that any detail I couldn’t I photographed it and posted the
pace. At ArtistsNetwork.tv you’ll find: capture with it was better left unsaid. image to the designated Facebook
But then, sure enough, I wanted to album as well as to my website.
t 0WFSJOTUSVDUJPOBMWJEFPT work in greater detail, so I added a Friends and fellow artists followed
from professional artists smaller brush to my equipment list. my daily posts, commenting and
t 5IFXJEFTUWBSJFUZPG Choose what feels most com- offering encouragement. Several of
fortable to you depending on your my art buddies were doing their own
NFEJVNT TVCKFDUTTLJMMMFWFMT
challenge specifications and goals. 30-in-30 challenges, so we compared
available online
notes and enjoyed the camaraderie.
t *EFBT JOTQJSBUJPOJOTUSVDUJPO 6. TIMEFRAME: flexible I’m glad that I did the challenge;
that will help you take your art to I began with the commitment to I found it worthwhile in many unex-
the next level paint in a quick, intuitive way, but pected ways. I even sold a few of the
in the end, the actual time I invested paintings during the month! Best of
t (SFBUWBMVF Monthly or
in painting varied between 45 min- all, it had the desired effect of re-
yearly access—choose what’s
utes and three hours. Before long, establishing my good painting habits.
right for you I also realized that 30 paintings in To be honest, by the end of the
t IPVSBDDFTTUPBSUJOTUSVDUJPO 30 days didn’t mean that I had to do month, the obligation to produce
from any internet connection one painting per day. Some days, quick work had become a chore. Now
I completed two or even three, other that it’s over, I’m happy to be able to
days none. go with the creative flow, letting one
Determine how much time you’re project lead into the next—without a
able to commit to your challenge, and schedule and a constant audience.

try this at home


Create your own painting challenge for one week (or longer).
Send your “rules” and seven finished paintings (JPEGs with a
resolution of 72 dpi) to wcamag@fwmedia.com with “Creativity
Workshop” in the subject line. The “editor’s choice” will receive
7JTJU"SUJTUT/FUXPSLUW a subscription (or renewal) to Watercolor Artist. The entry deadline
SAVE 10% with coupon is August 15.
code "57."(

14 watercolorartistmagazine.com
studio staples
B Y C AT H Y J O H N S O N

Brushes in the Field


An on-the-go watercolorist takes Dynasty’s New York Sable
brushes for a test drive.

I
I used round brushes to lay in the
misty shapes of the trees wet-into-wet. t’s always a challenge—and a I especially wanted to see how the
When the wash had lost almost all its privilege—to be asked to experi- brushes would perform in the not-
shine, I mixed a darker, thicker color
ment with new art materials and so-controlled, outside-the-studio
for the dark cedar trees, which I laid
in with my smallest round. I used a put them through their paces. conditions that I prefer.
fan brush in the dry grasses and the Normally, I use manmade brushes To get a feel for the Dynasty
sharpened end of a brush handle in
because I like how the hairs snap to brushes, I fi rst took them for a test
some of the line work. A small No. 6
flat produced a decent spatter when a fi ne point, but when I was pre- drive in my sketchbook, playing
flicked with my thumbnail. I finished sented with the new Dynasty New with a variety of brushstrokes and
the bare trees with an old dip pen
York Sable brushes, I was excited to my favorite techniques (see the
loaded with watercolor.
paint with real sable for a change. results on page 16).

Watercolor Artist | August 2017 15


l

trial runs

Since I like to use as big a brush as possible for as long as To see how long I could go without reloading,
possible, I went right for the No. 20 round. I experimented with I picked up a generous amount of paint and
fully loaded strokes, washes and drybrush. I then tried painting started a square spiral. I ran out of room before
with just the tip, before splashing and spattering with a darker I ran out of paint. That’s a plus!
color. All in all, I found the brush nicely versatile.

Flats are often my favorites, and for this review, I had a I seldom use fan brushes, as I find the arched shape a
No. 14 and a No. 6 to test. Both performed pretty much bit awkward or mechanical, but this one did basically
as required for a range of effects. what I asked of it. Fans can be used for a variety of
textures, including hair, wood and grass. Just be care-
ful not to get too uniformly repetitive. Keep turning the
brush to use different angles.

16 watercolorartistmagazine.com
To start my little feeder bird sketch, I laid in quick, simple washes,
using the two largest round brushes I had—the No. 20 and the No. 12.
I used the fan brush on the edge of the platform, then made a few
exploratory marks at the bottom.

Put Into Practice


Once I knew what the brushes were capable of, I got to
work in earnest. To start, I should tell you that these
brushes have longer handles than most watercolor
brushes, which traditionally are designed with short
handles for painting close to the paper and for detail work.
Since the New York Sables are less expensive than many
others on the market, I felt OK about simply sawing off
the handles to the lengths I prefer—an easy task given
that they’re made of a good, hard wood.
While I was at it, I honed the ends of a couple newly
shortened handles with a pencil sharpener to create
unique drawing implements, effectively giving me two
tools in one. I simply dip the handles’ sharp points in
paint and draw with them.
One other thing to be aware of with this line
of brushes is that the sizing is quite a bit smaller than
comparable brands. That’s no problem if you’re buying
them in person and can see what you’re getting, but just
note that if you’re ordering online or from a catalog, the
No. 20 is approximately the size of a No. 8 or No. 10 in

Watercolor Artist | August 2017 17


l

I often work in my old Jeep when the weather isn’t cooperative. The I wanted to combine a number of techniques and approaches on this
glove box lid makes a nice, tiny taboret. journal page, including wet-into-wet washes, linear effects and spat-
tering. I used flat brushes to lay in the spring colors in the background,
then the rounds to paint the trees, reshaping the points a few times to
get the control I needed. The No. 6 flat worked for the fine spatter, and
I finished up with a dip pen and watercolor for the finest details.

some other brands. That’s not a


complaint about this line of brushes;
there’s a lot of variation in sizing
from brand to brand, so it’s always
something to consider.
Finally, if you’re unaccustomed to
sables, know that you’ll need to tend
to these brushes more carefully than
those with manmade hairs. When
your painting session is through,
reshape the hairs with your fingers
while the brushes are still wet. You
might even want to add a bit of
gentle soap to the hairs to encourage
them to set with a good point.

To make sure you’re using


the right brush for the Finally, I wanted to try a very loose, washy painting of my cat Pepi, with a minimum of pencil
job, check out the tips at guidelines. I defined his shape and markings with the flat and round brushes, and included a
bit of fan brushwork in his fur. I used the flats to paint the background and most of his bowl.
bit.ly/wcbrushes17.
18 watercolorartistmagazine.com
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meet the masters

A Search Without Boundaries


Anna Walinska’s life and art were filled with adventure.

I n 1955, when it was still unusual


for a woman to travel alone, artist
Anna Walinska boarded a prop plane
rubbed shoulders with artists,
writers and diplomats. At age 49,
about halfway through her career,
André Lhote and at L’Académie de
la Grande Chaumière, which taught
free-thinking students and rejected
for a year-long sojourn around the international adventure was nothing the strict academic rules of the tradi-
world. Her journey would take her new to the worldly Walinska. tional École des Beaux Arts.
to France, Spain, Italy, India, Japan, Born in 1906 to Russian immi- On the Left Bank, Walinska
Israel and Burma. On this trip, she grants living in London, she moved lived near Gertrude Stein, who was
to New York with her family in 1914, famous for her gatherings of artists,
the year Europe was plunged into writers, intellectuals and bohemians.
war. At 12, Walinska enrolled in the Looking back, Walinska described
Art Students League. Her talent and these years as “the time of Matisse,
experimental approach to art became Picasso, and Schoenberg’s music, the
evident in her early works made time of Hemingway’s Moveable Feast,
while a student there. Her earliest [which was] indicative of a certain
known work, a watercolor from 1918 kind of daring and adventurousness
entitled The Family, demonstrates that I’ve always had.”
an understanding of proportion and
placement of the human figure, com- A Creative Life in New York
C O U R T E S Y O F AT E L I E R A N N A WA L I N S K A

bined with calligraphic line work and In 1930, Walinska returned to New
deftly handled washes of expressive York City, where she lived and
color. Certainly, these early modern- worked for the rest of her life. That
ist tendencies drew her to Paris, the year, she made a vibrant watercolor,
center of the avant garde. Central Park. Its spontaneity sug-
Walinska first went to Paris at gests Walinska may have painted
age 20, initially against her father’s it en plein air, looking toward the
wishes. She would live there inter- buildings of Manhattan through
mittently for the next four years, sparsely leafed trees, a small group
Anna Walinska (London-born, 1906–1997) studying with the Cubist painter of people gathered in the foreground.

Sept., 8, 1906 1914 1918 1926 1935 1939


Born in London Moves to Enrolls at Art Travels to Paris Opens Guild Serves as
to Russian New York City Students League for first time; lives Art Gallery in assistant creative
immigrant with her family there periodically New York City, director for
parents for four years promoting Contemporary
modernism Arts Pavilion
at New York
World’s Fair

20 watercolorartistmagazine.com
BY TA M E R A L E N Z M U E N T E
C O U R T E S Y O F AT E L I E R A N N A WA L I N S K A

Central Park
(1930; watercolor
on paper, 9½x12)
conveys a cloud-
laden city scene,
with purple-tinted
skyscrapers
overlooking one
of the park’s
crystalline lakes.

The scene is a fond portrayal of the shine a light on American art with “We Are All Survivors”
city that offered exciting opportuni- the kind of modern sensibilities they By 1940, Walinska had begun to
ties for an artist willing to take risks. had appreciated in Paris. Walinska create work relating to the Holocaust,
One such opportunity was possessed the strong social network which she would revisit through-
Walinska’s founding of an art gallery. so integral to the gallery business, out her life. Although she had not
She had met fellow artist Margaret and the two launched the Guild Art experienced the Holocaust firsthand,
Lefranc in New York, though the two Gallery in October 1935. Although her strong Jewish heritage made the
had both studied with Lhote in Paris the gallery flourished less than two horrors palpable. In an interview
in the 1920s. The women shared the years, it made its mark on the mod- with The New York Times last year,
goal of opening a gallery that would ern art world in New York. Walinska’s niece Rosina Rubin said,

1955 1957 1960 1979 Dec. 19, 1997 1999


Travels around First Solo exhibition at Exhibits 122 Dies in New Posthumous
world and lives retrospective Monede Gallery, Holocaust works York City exhibition of
in Burma for four appears at New York at Museum of Holocaust
months Jewish Museum, Religious Art at works at Center
New York the Cathedral for Holocaust
of St. John the Studies, Clark
Divine, New York University

Watercolor Artist | August 2017 21


r

“There was a real consciousness in the pits, are all metaphors for the She became a renowned portraitist,
while being in Europe while [anti- Jewish community disappearing in creating likenesses of artists such as
Jewish organizing was] developing. the Holocaust.” Pablo Picasso and Arshile Gorky, and
Knowing what was going on there, Walinska continued, “With each of well-known dignitaries such as
knowing what was at stake. … It image, I have attempted time and Eleanor Roosevelt.
touched her very deeply.” Walinska’s time again to renew, to deepen and She continued to experiment
first Holocaust works were exhibited to strengthen the statement. … In with her art throughout her life,
in 1957, including an oil painting a sense, we are all survivors. We all incorporating handmade paper from
titled The Survivors, which she con- share the burden and the memory.” Burma into her collages and, nearing
sidered her greatest accomplishment. Many of these moving works are age 80, making a series of draw-
In 1979, when a large solo exhibi- now in the permanent collections ings based on erotic 17th-century
tion of Walinska’s Holocaust works of the United States Holocaust Japanese shunga prints. In every-
appeared in New York, she said, Memorial Museum, in Washington, thing she did, Walinska said she
“I can only say that for me, this D.C.; Yad Vashem, The World “sought to convey the spirit of
theme has exercised an inescap- Holocaust Remembrance Center, in a search without boundaries.”
able compulsion. The paintings Israel; and other major institutions.
and drawings of [people] in flight, In her lifetime, Walinska made at TAMERA LENZ MUENTE is associate
embracing, parting, being herded least 2,000 works in watercolor, oil, curator for the Taft Museum of Art
together for deportation, the bodies casein, ink, collage and other media. in Cincinnati.

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22 watercolorartistmagazine.com
TAKE THREE
A trio of friends who’ve never met in person
hold a still life painting challenge across the miles.

BY L AU R I E G O L D S T E I N - WA R R E N , A N N E H I G H TOW E R - PAT T E R S O N W H I T E
AND SUSAN M. STULLER

A
few months ago, I was chatting via chosen—or to share our works in progress. We
Facebook with my friend and fellow wanted to see how our different painting styles
painter Anne Hightower-Patterson would translate into compositions featuring the
White. Although we’ve never met in person, same subjects. Here’s a look at our experiment—
we’ve developed a great connection through as well as some tips for painting glass objects.
social media. We determined that we were both
ready for a new creative endeavor and devised Try It Yourself
a virtual painting challenge. She brought our I encourage other artists who are friends on
friend Susan M. Stuller on board, and we were Facebook or other communication outlets such
off and running. as Instagram or email to try a similar project.
The guidelines were simple: We’d each select It’s always interesting and educational to see
and share three favorite pieces from our glass how someone else interprets the same subject
collections, and then we’d each paint a still life through their own eyes and creative style. This
painting based on some of those pieces. We even can be done internationally, by emailing
shipped the glass items back and forth until we the same reference photo or idea to friends
all had photographed a still life setup using at around the globe and having each create a
least five pieces from the collections. We agreed painting in his or her individual style.
not to tell one another which pieces we had —Laurie Goldstein-Warren

Watercolor Artist | August 2017 23


1a 1b

4 5

DOING THE PREP WORK


ANNE HIGHTOWER-PATTERSON WHITE
annehightower-patterson.com

TOOLKIT STEP 1: I began the process by doing two STEP 5: I removed small amounts of masking
5x7-inch value studies (1a and 1b) to work out and began establishing the middle and darker
Paper: Winsor &
Newton 140-lb. cold- the composition and plan the pattern of lights values, as seen in the upper left.
pressed white and darks.
FINAL STEP: Once I had the values in correct
Paint: Sennelier: red
orange, lacquer red; STEP 2: I then did a complete 9x12-inch relationship, I did what I call “a finishing step.”
Winsor & Newton: burnt color study in which I tried out some darker I go through and tighten up shapes that seem
sienna, Winsor blue shadows that I decided to leave out of the final ragged. If I’ve lost a highlight, I either scrub it
(red shade), cobalt, painting. I focused on triangulating the colors out with a fabric dye brush or use a Mr. Clean
aureolin, Indian yellow, to provide a visual map through the painting. Magic Eraser to lift color, especially staining
raw sienna, brown For this, I altered a few of the reds and blues color. I think the traditional scrubbers are a
madder, sepia, French from my photos to improve the color harmony. little rough on 140-lb. paper; however, the fabric
ultramarine; Daniel dye brushes by Loew Cornell are just right. If
Smith: quinacridone
STEP 3: I completed a detailed line drawing there’s a small point to highlight, I’ll use my
rose, quinacridone
of the composition (3a) and then masked the go-to opaque white—Shiva white casein. In the
gold, quinacridone
areas where I wanted to preserve the white of final assessment of While the Fish Danced (water-
coral, sap green
the paper (3b). color on paper, 21½x28), I determined that the
Brushes: Jack
lower corners needed less emphasis, so I used
Richeson Extreme
STEP 4: I created the initial washes to begin a neutral gray mixture and lightly floated it
Kolinsky, Art Xpress
Charles Reid Kolinsky to define the light values and establish the across the bottom from corner to corner, which
local color. helps to lift the eye to the focal point.

24 watercolorartistmagazine.com
2 3a 3b

anne’s tips
• Begin by observing the glass reflections carefully. • Layer color one glaze at a time using transparent
• Do a detailed drawing of the reflected shapes on or semi-transparent colors. Ensure one layer is dry
paper. Make any corrections before transferring the before applying the next. After painting the initial
drawing to watercolor paper by using either transfer glaze, apply masking to preserve the lighter values
paper or a light box. Avoid erasures on your water- before adding darker ones.
color paper, and use a hard pencil to complete your • Remove the masking once the darkest values are
drawing to prevent losing your marks in washes. complete. Use a small, stiff brush to soften the
• Mask the shapes that will remain white or very light. edges of the shapes that look too hard.

Watercolor Artist | August 2017 25


1 2

USING A LIMITED
PALETTE
LAURIE GOLDSTEIN-WARREN
warrenwatercolors.com

STEP 1: I do my initial drawing on oversized


white drawing paper. When I’m happy with the
composition, I move the drawing to my water-
color paper using transfer paper. I then go over
my lines with a hard graphite pencil and mask
off my whites and any other shapes that I want
to remain pure in color.
4
TOOLKIT
Paper: Fabriano STEP 2: I paint in a glowing layer first using STEP 5: Once I’m satisfied with the values and
Artistico bright white quinacridone gold, quinacridone rose and shapes, I use a gray wash from the remaining
140-lb. cold-pressed cobalt blue. paint in the palette to push back some of the
Paint: Daniel Smith: glass pieces and bring others to the forefront
quinacridone rose, STEP 3: When that layer is completely dry, of the painting.
quinacridone gold; I lay in my first dark layer (value 8 or 9) using
Winsor & Newton: quinacridone gold, quinacridone rose and FINAL STEP: I achieve the finished look by
lamp black, cobalt, Antwerp blue. masking off just a few of the white and pure
Antwerp blue
color spots. I then apply a violet-blue wash
Brushes: Silver Brush STEP 4: When the dark layer is dry, I remove over the entire painting to unify it. Finally,
Black Velvet 1½-inch all the masking fluid and begin to paint in the I use a soft brush to prevent disturbing the
flat wash; Yasutomo/
mid-value (3-7) shapes using the same limited underlying layers of paint in Stars in the Dark
Haboku stroke 6060L
four-color palette. (watercolor on paper, 30x22).

26 watercolorartistmagazine.com
3

laurie’s tips
• Don’t just shoot a photo of your still life and begin. • Soften the edges of masked elements in some
Study the light, reflections, refraction and surfaces. areas and leave hard edges in others, always con-
• Only draw reflections and shadows that are impor- sidering the variety and quality of your shapes.
tant; not every detail is needed. Join values that • Push back some pieces in your still life; not all of
are close together to create larger shapes. the objects should have equal importance.

Watercolor Artist | August 2017 27


1

BUILDING UP SHAPES & VALUES


STEP 1: I photograph a variety of still life setups SUSAN M. STULLER
with strong light. After choosing several, I pro- susanstuller.com
TOOLKIT ceed with a few value studies and then select
the one I like the best. I do my value studies on
Paper: Arches 300-lb.
cold-pressed tracing paper with a Sharpie pen and a pencil. cobalt and burnt sienna, and I occasionally
I usually mark the center of the paper with an drop in a little permanent rose if I want a violet
Paint: Holbein: cobalt
“x,” so I don’t arrange anything in the center. tone. The masking fluid is removed during the
blue, ultramarine blue,
Prussian blue, cerulean I then proceed with several tracing paper layers glazing process of this step, so that the hard
blue, alizarin crimson, to refine my drawing. edges of the mask will be softened in subse-
burnt sienna, raw quent layers.
sienna, indigo, new STEP 2: When I’m satisfied with my tracing
gamboge, permanent paper drawing, I transfer my drawing to my STEP 5: I continue to refine shapes and values
rose, permanent red; painting surface with graphite paper and mask while adjusting the temperature. I wait until
Winsor & Newton: the whites I want to preserve using Winsor & I have more completed shapes before I start on
Winsor green; Newton masking fluid. the blue vase.
Mijello Mission Gold
Watercolor: cerulean
STEP 3: I like to apply the glow colors first so STEP 6: I rewet the background around the
blue; Dr. Ph. Martin’s:
I know where they are and can paint around glass items and, using a round, soft mop brush,
phthalo green, blue,
yellow light, ultra- them. Next, I wet the paper and add a warm I drop in a warm neutral wash using indigo,
marine blue light wash, dropping in some neutrals in raw sienna and a little alizarin crimson. I also
the corners. use some Dr. Ph. Martin’s liquid watercolors to
Brushes: Silver Brush
brighten up the strong colors in the marbles
Black Velvet jumbo
round; Loew Cornell 6 STEP 4: I start to build up shapes and values, and some of the glass items.
and 14 rounds, 1- and gradually using colors I know won’t lift as I
2-inch flats; 2- and proceed to glaze over them. Most of the light to STEP 7: I start slowly on the blue vase. Putting
4-inch hakes mid-tone grays are painted using a mixture of in the glow colors first, I paint more of them

28 watercolorartistmagazine.com
2 3 4

5 6 7

susan’s tips
• A great drawing is a must
when painting intricate glass.
• Create clear light shapes
that make the glass sparkle,
even crafting or eliminating
some shapes for composi-
tion’s sake.
• Mask the major light shapes
carefully; they’ll be important
to the final painting.
• Design is important to the
overall success of the paint-
ing; don’t make it too busy.
• Always keep the following
in mind as you paint: values,
values, values.

than I need, knowing that as I change values I also use the indigo wash to push back some
I’ll lose some of the color. I then add small of the glass shapes. I use a Cheap Joe’s scrub-
amounts of those same colors around the ber to soften any remaining hard edges left
painting to help guide the viewer as he looks by the masking. I decide to add a few cards to
at the painting. Something Borrowed, Something Blue (water-
color on paper, 21x29) to strengthen the focal
FINAL STEP: I continue to glaze color on the point. I continue to soften edges with the
blue bottle as well as add several glazes in scrubber brush and add a few final glazes
the background using the same indigo wash. to push the values.

Watercolor Artist | August 2017 29


A Passage to India
Amid the bustling streets and colorful
markets, Ramesh Jhawar finds inspiration
in scenes of everyday Indian life.
BY K E LLY K A N E
W
ith their bright colors, intense light Kelly Kane (KK): Your colors are so clean and vibrant.
and energetic appeal, Ramesh How do you keep your mixes from getting muddy?
Jhawar’s paintings drop us into the Ramesh Jhawar (RJ): To keep my colors lumi-
center of his universe. With the artist as our nous, I avoid opaque pigments and use no more
guide, we navigate the busy lanes and teeming than three colors in my mixes.
markets of India. We can practically feel the
heat on our necks and hear the noises of nearby KK: Does your choice of palette come from the local
motorcycle traffic or vendors haggling with colors of your subjects, or do you make personal
customers. I spoke to him recently about the choices about the colors you use?
value of sketching regularly, “the five pillars” of RJ: Mostly, I stay true to the local colors of my
art and how his journey as an artist began with subjects, but I like to push them a little to make
a love of comic books. my paintings more visually appealing.

32 watercolorartistmagazine.com
The artist chanced upon the scene in Old Companions (watercolor on paper,
29x21) during a visit to the local market on a crisp winter morning. “I was totally
enamored with the light, mood and gamut of tonal values, and knew I had to paint
it,” he says.

“I love painting market scenes,” Jhawar says. “Here, the yellow awnings cast a
wonderful warm glow. Although Yellow Awnings [at left; watercolor on paper,
14x21] is dominated by warm yellow, the small patches of color on the figures—and
the blues used to convey the cool morning light—balance the painting well.”

On previous pages:
“Varanasi is said to be the most ancient city in the history of civilization and the
holiest of all places in India,” says the artist. “A New Day, Varanasi [watercolor
on paper, 21x29] symbolizes the beginning of a new day on the ghats [bathing
places] of the river Ganges. Though the scene was complex with lots of figures
and other elements, I managed to pull it off and was happy with the result.”

KK: How do you find subjects that interest you? such scenes distinguishes one from the other.
RJ: I don’t limit my subjects to any one category. The hustle and bustle and huge variety of
It’s the quality of light that draws me in and subjects in my country excite me and inspire
inspires me to paint; it can be a figure, street me creatively.
scene or landscape.
Sketchbook Revelations
KK: Are the scenes you paint local? Do they mean KK: You regularly sketch on-site. How does the
something to you personally? practice influence your work?
RJ: Though I find plenty to inspire me locally, RJ: Without a doubt, sketching on-site
I also travel to find new subjects—mostly helps strengthen one’s drawing skills and
mundane, quintessentially Indian scenes of mastery over the principles of design. You
everyday life. The local or regional flavor of see the actual colors of the subject and focus

Watercolor Artist | August 2017 33


Jhawar uses on-site
sketches to work out completely on the essence of the scene in “The Five Pillars”
compositions and
front of you—however complex it may be. This KK: Do you use a traditional wet-into-wet technique
document local colors.
essence, if properly captured, imbibes the to apply watercolor?
painting with a spirit that otherwise would be RJ: If I’m working on a simple subject, I keep
impossible to achieve. the line drawing minimal. For a complicated
subject, I make a detailed drawing on my
KK: What kind of information do you try to capture watercolor paper.
in your sketches? Where I live, it’s mostly hot throughout the
RJ: I work out the basic design of the com- year, making it impossible to work wet-into-
position and record the tonal values. These wet for long because the paper dries so quickly.
sketches also help in simplifying the scene in I always start by laying in a wet-into-wet
front of me. wash and, depending on my plan for the treat-
ment of edges, I either re-wet the surface as
KK: Do you sketch both in graphite and with water- I work to keep them soft or paint wet-on-dry
color on location? for crisp ones.
RJ: I use graphite to make thumbnail sketches,
which serve as both tonal value studies as well KK: Do you use transparent watercolor only, or do
as composition plans. Based on these, I proceed you also incorporate opaque colors into your work?
to paint the scene in watercolor. RJ: Although the most unique characteristic
of watercolor is its transparency, the medium
KK: What size sketchbooks do you use? can be used efficiently in both a transparent
RJ: Though I have sketchbooks of various and opaque fashion. My experience with
sizes, I prefer the 6x8- and 8x12-inch varieties. oil painting inspired me to paint with water-
I use the smaller sketchbook for thumbnail colors in the same way. I apply thick paint
sketches and the larger one for small over thin transparent layers to achieve
watercolor studies. rich, dark tones and lovely textures. For the

34 watercolorartistmagazine.com
“The principle of warm versus cool and a complemen-
tary color scheme are at work in Approaching Twilight
[watercolor on paper, 14x21], a scene from my hometown.
I was attracted to the beautiful golden light reflecting on
the buildings,” Jhawar says.
artist’s toolkit
• Paper: I’ve tried various brands of paper, but the ones
I like the most are Arches, Saunders Waterford and
background, I normally paint in thin layers Fabriano 300 gsm (140-lb.). Though I mostly use cold-
and use fairly thick paints for the foreground. pressed, I also paint on rough grain, if the subject demands
In this manner, I achieve a good sense of it. I paint mostly in three sizes: full imperial (22x30), half
depth in my paintings. imperial (15x22) and quarter imperial (11x15).
• Brushes: I have a mix of natural and synthetic brushes,
KK: How do you achieve the whites in your
both local and imported, that I’ve collected over the years.
paintings?
My favorites are Escoda. I use mostly rounds—sizes 8, 10
RJ: I paint according to my whims and fan-
and 12—plus a large mop for washes and a couple of
cies. If the subject includes an intricate pattern
riggers for fine lines.
that I want to preserve, I use masking fluid to
save the white of the paper; otherwise, I paint • Paints: I use Camel (a well-known Indian brand) along with
around the whites. I also don’t mind painting a few imported brands like Winsor & Newton, Mission Gold
with opaque white for small highlights here (Mijello) and Pebeo. My palette consists of the following
and there. colors: lemon yellow, permanent yellow deep, Indian yellow,
orange, cadmium red pale, permanent red, alizarin crimson,
KK: How long have you been painting in watercolor? rose tyrien, raw sienna, burnt sienna, cerulean blue, cobalt
RJ: I had my first “brush” with watercolors blue, French ultramarine, permanent green light, sap green
during my early school days. Later, I tried and viridian green.
other media like oil, pastel and acrylic, but —Ramesh Jhawar
finally came home to watercolor as my chosen
medium. There’s a certain joy in painting with

Watercolor Artist | August 2017 35


1 2

balancing light and shadow


Step 1: Working on a half-imperial (15x22 inch) sheet For the papayas, I used a mix of lemon yellow, Indian
of Arches cold-pressed 300 gsm (140-lb.) paper, I yellow and green. For the baskets, I used orange and
made a careful drawing of the old woman with her fruit burnt sienna, leaving some whites in the light portion.
baskets and the bicycle in the background. I marked I allowed burnt sienna and French ultramarine to mix on
the shadow areas lightly in the lower background. the paper to create vibrant cast shadows.

Step 2: I added a thin wash of raw sienna to suggest Step 4: I further developed the background, adding
the warmth of the scene, and a touch of rose madder details on the doors and the basket perched on the
to the mix for the lower half of the painting. I reserved back of the bicycle. I then painted the remaining fruit in
the whites by painting carefully around the figure and the basket in front of the old woman.
the baskets, as I wanted them to be the brightest
portions in the painting. I also started developing the Final Step: I painted the basket filled with tomatoes on
background, painting the bicycle and adding darks for the left. To make the tonal value of the ground a little
the shadows. darker, thereby emphasizing the figure and the baskets,
I added a glaze of raw sienna mixed with a little French
Step 3: I started work on the main area of interest: the ultramarine and rose madder, painting carefully around
old woman. I painted the face and neck with Indian the figure and baskets. While the paper was still damp, I
yellow; for the shadowed portions, I used burnt sienna, painted the foreground shadows using a mix of French
cooled in some places with French ultramarine. I then ultramarine and rose madder. I added patches of green
painted the sari with lemon yellow, leaving some whites in the mix and created texture by spraying water and
near the folds where it caught the sunlight. I used spattering dark paint to suggest waste, leaves and sand
French ultramarine to paint the shadows. in Harsh Sun (watercolor on paper, 15x22).

watercolors that I find missing in other media. RJ: Two of the greatest influences on my work
The spontaneity and luminosity of watercolor have been Robert Wade, a master watercolorist
is simply unmatched; there’s an element of from Australia, and Milind Mulick, from India.
mystery and a sense of urgency, which makes A self-taught artist, I learned mostly from
the process of painting all the more enjoyable. art books. After some years, it came home to
I’ve been painting exclusively with watercolor me that all great representational art has its
since 2009. foundation in the five pillars: drawing, value,
color, edges and composition. That was a
KK: What’s been the most important lesson you’ve profound revelation that proved to be a turning
learned as an artist? point in my artistic journey.

36 watercolorartistmagazine.com
3 4

KK: Do you remember the first great painting you mesmerized by the works of Monet, Renoir and
saw—and the effect it had on you? Degas. This admiration eventually led to an
RJ: The town where I grew up didn’t have an interest in working with oils and pastels.
art gallery—and it still doesn’t. The only
works of art I saw as a child were comic-book KK: You make a living with your art. What are some
illustrations. For years, I used to sketch my of the joys and perils of this life?
favorite characters, developing my drawing RJ: The best thing about being an artist is that
skills in the process. you’re your own boss. You do what you love
Later, during my college days, I chanced and get paid for it. Plus, the joy of creation is
upon a few books on Impressionism and was pure bliss.

Watercolor Artist | August 2017 37


Clockwise from top:
“I love to paint bicycles, but
this scene had other interest-
ing elements as well, including
old, torn posters and a lovely
textured wall,” Jhawar says.
“To replicate the textures of
the wall, I masked areas, and
then lifted and spattered
paint. I also did collage work,
pasting papers to the painting
surface to indicate the
posters and painting over
them in Posters on the Wall
[watercolor on paper, 14x21].”

The soft, warm glow of


the last light over the river
Ganges created a wonder-
ful atmosphere in The Last
Light, Varanasi (watercolor
on paper, 21x29). Jhawar used
thin layers of cool colors to
paint the buildings in the
distance; for the foreground
buildings, he used thick
layers, which heightened the
depth of the scene.

A Smoke at the Paan Shop


(watercolor on paper, 14x10)
received a purchase award
in the Qingdao International
Watercolor Biennial, China.
“The casual expression of
the old man about to light a
cigarette, and his cast shadow
on the left, made this such an
interesting subject to paint,”
says the artist.

38 watercolorartistmagazine.com
The perils of this life are an unsteady Success doesn’t come easily. It typically takes
income and the resultant insecurity. years of experience and hard work to gain rec-
Furthermore, the artist not only has to ognition and achieve success; one should have
create art but he has to market it, which isn’t a reasonable means of financial support, say a
an easy—or natural—job for him. part-time job, in the initial years.
A budding artist should always try to display
KK: What advice would you give to an artist just his art wherever possible. The internet is a
getting started? great blessing for artists today, and one must
RJ: My advice for the budding artist would be tap its potential. Lastly, being social and net-
to have a lot of patience and a positive attitude. working, both online and off, is important.

Watercolor Artist | August 2017 39


Child’s Play Make painting young subjects look easy by following
a few simple rules: Lose edges and vary colors for a
soft look, and above all, let kids be kids.
BY B E V J OZ W I A K

40 watercolorartistmagazine.com
I saw this young girl lying in the grass eating ice cream. It was such a beautiful
day, and she seemed like such a free spirit, that I didn’t want to put in a heavy
background. Instead, I just insinuated grass by putting in some varied colors
of greens and scraping out a few blades with a palette knife in Lazy Days
(watercolor and graphite on paper, 11x22).

Watercolor Artist | August 2017 41


I photographed the little girl in Steeped in Tradition III
(watercolor on paper, 19x12) at an ethnic fair called World
Beat. I painted the pattern on her kimono predominately
in oranges, and the background mostly in blues. To keep
the painting cohesive, I made sure to pull some blues
(and greens) into the kimono, and some oranges (and
browns) into the background. I scrubbed a Mr. Clean
Magic Eraser over a patterned stencil in the background
to bring it all together.

L
ess is more when it comes to painting It’s not the subject itself that draws me in, but
children, who are rounder, softer and the feeling I get when looking at it. Sometimes
have fewer lines than their adult coun- it’s the play of light on a subject that catches
terparts. For me, exact rendering isn’t an end my attention, or an interesting texture, or
goal. Instead, I aim to capture the essence of a maybe it’s no particular element at all, but
child, using varied color and blurred edges to the overall beauty of a scene. At times, the
create a combination of detail and looseness. compelling factor can be difficult to define, but
I consider myself an impressionist figure I know it when I see it.
painter rather than a portraitist. I focus on the
mannerisms, gestures and nuances unique to Getting Good Reference Photos
each child, and try to capture those elements Thinking about a subject outside the traditional
on paper. confines of a portrait frees me to explore the
The passion I have for painting is never figure in unique and personal ways. I don’t
really about a particular person, place or thing. have to portray a child straight on to capture
I paint a fairly wide range of subjects, including
Continued on page 46
birds, animals, ballet dancers and other figures.

42 watercolorartistmagazine.com
I do a lot of rainy day pieces, but I didn’t
want this one to be dreary. I used yellow
and kept it light. In paintings without much
of a background like Rain on a Sunny Day
(watercolor and graphite on paper, 18x17),
the key is to lose some of the edges on your
subject so that it doesn’t appear cut out or
unfinished. Here, I softened a lot of edges,
used plenty of water and painted outside
the lines. Since shadows tend to be black
holes in photographs, I made sure to paint
them with lively colors instead.

artist’s toolkit
• Paint: Winsor & Newton: yellow ochre, burnt sienna, 1-inch flat (used only occasionally); Dynasty Black
cobalt blue, manganese blue hue, permanent Gold Quills Series 311, size 000 (a small brush with
alizarin crimson, permanent rose, rose madder a great point for details); Cheap Joe’s Legend kolin-
genuine, cadmium red, cadmium yellow, aureolin, sky, the Dream Catcher, or DaVinci’s Maestro No. 12
Winsor blue (red shade) or phthalo blue; Holbein: (when I need a brush that holds a lot of water)
sap green; Daniel Smith: French ultramarine blue; • Palette: Alvin Heritage and John Pike
American Journey: Janet’s violet rose
• Misc.: masking fluid, 9B pencil, kneadable eraser,
• Paper: 140-lb. hot-pressed Fabriano Artistico and spray bottle, plastic tub (for water), paper towels,
my new favorite, Stonehenge Aqua by Legion Paper original Mr. Clean Magic Eraser, stencils, easel
• Brushes: Cheap Joe’s Golden Fleece No. 10 round, (I paint on a slant), board

Watercolor Artist | August 2017 43


a fix on fleshtones
It’s funny how as artists we’re all drawn to certain subjects. Even as a child, I drew faces. The intricacies of the
facial planes, the individual features, the reflections of light and the subtleties of skin tones—all these things
inspired me then and continue to keep my mind, heart and soul engaged today. From left to right on this spread,
see how I approached the unique skin tones in Vanilla Drips (detail; watercolor, graphite and gesso on paper, 19x10),
Heritage and Bangles (detail; watercolor and graphite on paper, 22x16) and Wonder (detail; watercolor and graphite
on paper, 25x11).

light skin tone


For Vanilla Drips, I started with
cadmium red and yellow ochre.
I painted a thin wash of color to
define the shape of the face in
shadow, leaving the white of
the paper for the sunlit areas.
Once I put in the initial wash,
I knew it needed to be pinker.
I tend to be a direct painter, but
for this piece, I just kept paint-
ing layers of color until I felt
they had enough substance.
The washes alternated between
permanent rose, yellow ochre
and rose madder genuine for
the warm areas, and cobalt (the
most transparent blue) and
manganese blue hue for the
cool ones. To represent the ice
cream dripping down her chin,
I saved the white of the paper,
but the vanilla drips weren’t
showing up as much as I wanted.
I rarely use Chinese white, but
I did here and was happy with
the result.

44 watercolorartistmagazine.com
medium skin tone
My go-to mixture for medium skin tones is cad-
mium red, yellow ochre and manganese blue hue.
In Heritage and Bangles, I started with cadmium
red and yellow ochre, making sure to leave places
of pure white paper. I was careful not to overmix
the colors lest they became lifeless. I also mixed
only small amounts at a time—not enough to cover
the whole face. Above the eyebrow, you can see
that the mixture is more yellow ochre, while the
cheek and the tip of the nose were applied with
cadmium red almost straight from the tube. Once I
had those two colors as intense as I wanted, I used
manganese blue hue in the areas of the face that
I wanted to recede—the temple, eye socket, and
under the chin and lip. I don’t usually use burnt
sienna with this skin tone triad, but I did add it to
the neck area in shadow. To pull the whole piece
together, I also used a purple (mixed from a
combination of the purples I used in her outfit) as
a reflection under her chin.

dark skin tone


For African-American skin tones, I usually start with
French ultramarine blue, cadmium red and burnt
sienna. In Wonder, I used the mixture quite thickly
in the darkest shadows, watering it out in the areas
of the face that receive more sunlight. As I moved
to the right, toward the light side of the face, I used
cadmium red and yellow ochre. After that dried,
I applied a thin wash of manganese blue hue on
both the dark and light sides of the face. Notice how
dark the skin tone is near the hairline. I didn’t want
the hair to look like a wig, so I found places to lose
edges along the hairline.

Watercolor Artist | August 2017 45


For Tiny Dancer Continued from page 42
(watercolor and
graphite on paper, revealing characteristics. In fact, some of my
19x9), I mostly
completed the top
favorite pieces depict the subject from behind
third, finished the or with just a hint of his or her face showing.
middle third to a Capturing the essence of a subject can be as
lesser degree, and
left the bottom third
simple as portraying the way he or she stands,
much lighter and the silhouette or other nuances that are unique
washier. It’s a fun way to the individual.
to paint, especially on
a long vertical piece.
In general, I paint from photographs. Luckily
To finish it off, I added for me, my kids and grandkids have always
scribbles with a been good about posing for me. For outdoor
9B pencil.
photo shoots, I simply let the children play and
take a lot of images, many of which I’ll delete
later. I prefer shooting in the early morning
Twin girls live across the street from me, and they love
or early evening, as I like to work with long the rain. I can see them from my kitchen window, and run
shadows and dramatic light. In winter, I out to get photos whenever they’re out playing in
the puddles. In this instance, their clothes—and the
photograph near my south-facing French
composition—were too busy for the look I wanted in
doors, where the light is perfect. Raining Cats and Dogs (watercolor and graphite on
Inside or out, having props on hand helps paper, 20x13), so I focused on the girl on the right and
simplified her rainwear.
give the kids something to do so that they’re

46 watercolorartistmagazine.com
I loved my grandson Bennett’s shy pose in the
reference photo for Shelter From the Storm
(watercolor and graphite on paper, 17x10). It’s so
easy to get stuck in a rut, and I have a tendency
to include red umbrellas in all my rain paintings,
but for this piece, I chose blues and grays—fitting
colors for the Northwest, where I live. Cool colors
dominate the skin tones, hair and red stripes on
the jacket, with a few warms for contrast.

not overly aware of the camera. If they become paintings resulting from the photo shoot won’t
self-conscious while I’m taking pictures, they end up looking the same. I also introduce new
may become stiff, and the moment will pass. props, including umbrellas, flowers or hats.
I like my paintings to be snapshots of everyday Getting good photographs is a lot of work,
life, so the more candid my reference photos but well worth it in the end. Three or four good
are, the better. Typically, I only step in occa- photoshoots can last me for a year—and I paint
sionally to ask for outfit changes so that all the a lot!

Watercolor Artist | August 2017 47


1 2
losing edges for a soft look
Step 1: I painted the face and edges between her forehead and Step 3: I chose to leave the skin
shadow side of the figure with a the background, where the color tones light and airy because this is
cadmium red and yellow ochre changed, but the value remained such a sweet image. I softened the
combo. I used manganese blue hue nearly the same. I varied the line between the shadow and light
behind her ear. To lose edges for a background around the bouquet of sides of her arm with a water-filled
softer look, I ran the skin tones into flowers so that I wouldn’t end up brush, then painted the ribbons
the hairline and the shadow into with a flat, dark color behind the on the flowers with rose madder
the hair behind her ear. light blooms. In places, the bouquet genuine. I kept the ribbon on her
stands out against the darks; in oth- tutu in the same color family, but
Step 2: I worked back and forth ers, the white flowers fade into the went with a stronger red to further
between the figure and the back- white of the background. I placed accentuate her pose and draw
ground. I lost the edges of the hair some of my darkest darks around the eye to the small of her back.
into the area behind it and at the the sway of the girl’s back to accen- I added granulating colors to the
nape of her neck. I also lost the tuate that area as a focal point. background, painting on a slant

48 watercolorartistmagazine.com
3

and spraying with water to create


texture, runs and puddles.

Final Step: I paid attention to details


like the tiara and ribbon. I painted
the tulle skirt with my favorite gray
mixture of rose madder genuine,
manganese blue hue and yellow
ochre. I encouraged the background
to fade into watery drips. I added
shadows around the subject’s feet
to plant her firmly on the ground in
Maddie May’s Sway (watercolor and
graphite on paper, 22x11).

Watercolor Artist | August 2017 49


Pasqualino Fracasso’s
spontaneous and colorful
landscapes are underpinned
by
b attention to abstract
b design.
d

Room to
Dream BY AU S T I N R . W I L L I A M S
A
Waiting on the Sun
(watercolor on paper, blaze with color and energy, the The Magic of Watercolor
19¾x23½) depicts a
paintings of Pasqualino Fracasso take Fracasso takes a somewhat flexible approach to
lake in the Italian Alps.
“I wanted to communi- full advantage of watercolor’s fluidity reproducing the world, often placing precisely
cate the cold sensation and unpredictability to capture the sensations rendered forms next to passages of broader
that you feel at these
felt by the artist at any given moment. At the brushwork that court pure abstraction. Many of
locations and the little
warmth that’s arriving— root of the vibrant colors and lively brush- his landscapes depict quiet spots in the villages
both with the sun and work is close attention to composition and the and countryside of his native Italy, and in these
also with the season,
abstract shapes that underlie every image. images we encounter trees, mountains and
as winter starts to end,”
Fracasso says. Fracasso’s paintings are preceded by both houses that extend out into less defined fields
a burst of inspiration and a period of medi- of shape and color.
On previous pages:
tation. “I’m very instinctive, so when I see In The Colors of Brittany (opposite), for
New York Impressions
VIII (watercolor and something or somebody who touches me at example, we see a row of houses near a beach.
acrylic on paper, first impact, I immediately feel I want to paint Fracasso paints their individual windows and
15¾x23½) “is an attempt
it,” the artist says. “Then I need some more chimneys, along with details such as the patio
to synthesize the urban
shape, catching the time to understand better what I want to bring umbrellas positioned outside them. In contrast,
essence and the mood out of the subject. This is the longer phase the lower half of the image, which depicts a
of a big city,” he says.
needed to build artwork that’s not a simple sandy shore, largely foregoes realistic detail,
representation of the real world, but a way to instead using bold, overlapping brushstrokes to
communicate something more than what we create the impression of water lapping against
merely see.” sand and rocks.

52 watercolorartistmagazine.com
The Light of Brittany (watercolor on paper, 11¾x19¾)
is a studio painting based on a sketch Fracasso made
in France. “This is an impressionist work in which
I focused on the main shapes of light.”

The Colors of Brittany (at right; watercolor on paper,


21¼x13½) shows a moment when the artist was “touched
by the colors that exploded when the sun arrived.”

A similar approach is seen in Fracasso’s


urban paintings of cities, such as Turin and
New York. His streets often look like dark
canyons momentarily awash in golden light.
In New York Shadows (on page 54), a yellow cab
rushes down a wide avenue away from distant
skyscrapers bathed in an almost heavenly glow.
As the buildings reach up to the sky, detail
fades into pure, fluid color.
In other paintings, Fracasso presents us
with the power of machinery and industrial
operations. A New Rusty Life (on page 55) places
us underneath a towering excavator, its bucket
covered by a thick, dryly brushed swath of
orange acrylic that accentuates the rough,
earthy nature of the work at hand.
Fracasso is attracted first and foremost to
the spontaneous, unpredictable side of water-
color. “I love the freshness of this medium and
the quickness of plein air painting,” he says.
“I’ve also fallen in love with discovering the
‘magic’ of watercolor. The magic is in the unpre-
dictable game that you play with water. It’s a
challenge to see what you can control and what
you don’t have to control. The loose effect of
watercolor evokes imagination and emotions; it
gives your brain space to dream.”

Watercolor Artist | August 2017 53


Fracasso began
New York Shadows
(watercolor on paper,
13¾x21¼) by applying
dry watercolor straight
from the tube and using
a credit card to scratch
it across the paper to
create the darks. “Then
I worked to balance the
painting with the middle
values and three primary
colors,” he says. “This
is one of my favorite
paintings.”

The Light of Silence


(at right; watercolor
and gouache on paper,
10½x21¼) is based on
a photo of the artist’s
house, taken early in the
morning. “I was leaving
to go to work, and there
was this evocative foggy Emotions and Experimentation and the mood, and catch some interesting
atmosphere, which is
Fracasso tries not to limit himself in his choice details that can’t be felt from a photo,” he says.
unusual here,” he says of
the Aosta Valley region of subjects. “I love painting everything,” he Fracasso’s on-site works are mostly painted
of Italy. says. “By painting everything, you increase sketches—“to remember details, mood, atmo-
your skill and challenge yourself with different spheres, colors”—which he brings back to his
approaches, different details, different com- studio, along with photographs, to use as refer-
positions.” He says that figures are often his ence for larger paintings. “I try to bring onto
favorite subjects. “I love to imagine something the paper all the emotions I felt on location.”
beyond the portrait—the thoughts and the Fracasso lives in Italy’s mountainous Aosta
emotions of the person.” Valley region, and he relishes the opportunity
Landscape, however, accounts for the bulk to paint en plein air in all seasons, even winter.
of his practice, and Fracasso divides his time “I love feeling the silence and the warming
between painting on location and in the studio. lights on the snow,” he says. “If the tempera-
“I love painting on location because I can feel a ture is under 5° C [41° F], I can only draw. But
lot of emotions, better understand the colors if the temperature is a little higher I can paint,

54 watercolorartistmagazine.com
“The loose effect of watercolor evokes
imagination and emotions; it gives your brain
space to dream.”

A New Rusty Life (watercolor and acrylic on paper,


19¾x27½) shows a beach in the south of France. “I saw
this little bulldozer, and I was touched by its yellow color in
contrast with the blue sky,” Fracasso says. “The bulldozer
was old, but these colors inspired in me something new. landscape lessons
I divided the painting into two parts: the rose side was the
Fracasso shares the following advice for artists who are
old life, and the normal color on the right side was the new
life. The orange stain represents the changing phase.” striving to improve their landscape paintings.
• Sketch always, everywhere and everything—details,
adding some glycerol to my water to prevent compositions, abstractions.
it from freezing. I sometimes use gouache as
• Study the masters of the past, such as Winslow Homer,
well. I’ll also bring a gas-powered heat gun to
John Singer Sargent and Andrew Wyeth.
dry washes faster.”
Given the fluctuating conditions of painting • Don’t simply represent something. Let the viewers imagine
on-site, the artist finds that the studio affords something beyond the painting, such as a story, a memory,
him the most opportunity for planning and a sensation.
experimentation. “In the studio, I can study • Be daring.
my work in a relaxed way, balancing the com-
position, the actors and the mood,” he says.
“Or, I can deconstruct everything to make
something different. I love experimenting,
and working in the studio gives me the time
to do that.”

Watercolor Artist | August 2017 55


1 2

3 4
a balancing act
Step 1: I began this view of a street in Turin by making Step 2: I placed the middle values to bring out the
a basic drawing and then placing the edges of the lights. I created the main shapes by beginning with
main shapes. I then painted a wet-into-wet wash, where defined edges and ending with loose edges to take
I defined the mood of the scene. I left some of the advantage of the evocative effect of watercolor.
whites for the main lights, and played with both warm
and cool colors to emphasize the warmth of the sunset. Step 3: I painted the dark values to define the abstract
I wanted to strike a dynamic balance of colors, brush- composition of the sketch. I also continued to play with
strokes and tonal values. warm and cool colors.

A Foundation in Drawing of the work is the main structure of the


Fracasso’s paintings may be spontaneous and work,” he says. “It’s key to place all the main
expressive, but they’re also rooted in draw- value shapes in a well-balanced way.” These
ing. “Moving my hand on the paper is my way compositional concerns often take precedence
to free my mind and to find the right shapes over fidelity to a scene’s exact appearance. “I’ll
and composition,” he says, “so I make a lot conform the real elements to this abstract
of sketches before beginning. Then, when I structure,” Fracasso says. This can entail
have the right vision of what to create, I turn moving buildings or trees, or adding cars,
on the music—very important to my painting people or animals to a landscape.
process—and I start.” He notes that in terms of composition,
Fracasso initially makes value sketches to urban landscapes are often the most difficult.
determine his composition, keeping an eye “In countrysides, towns and seascapes, you
on both positive and negative shapes. “This always have some defined silhouettes, you
is important, because the abstract structure have planes or grounds that create depth, and

56 watercolorartistmagazine.com
Step 4: I worked on colors, shapes and values to bal- Final Step: I added small touches to Leaving Torino
ance and link all of the elements together. I believe this (watercolor on paper, 14x22). My goal was to lead the
is the most important step, because it’s the foundation viewer’s eye to discover major and minor points of
not only for bringing the viewers to the main focal point, interest in the painting. I wanted to evoke a story or an
but for moving them through the painting using colors emotion but leave the best part to the imagination.
and small, medium and large shapes.
—Pasqualino Fracasso

you can play with many elements to create the way to find new solutions.” Experimenting
your abstract composition,” he says. “In an with materials is also a way to introduce a bit
urban landscape, however, everything is more of risk into painting, which suits Fracasso’s
difficult; you have to be more creative to fi nd approach perfectly, providing the artist with
compositional solutions, which often are far even more chances to play the “game” of
from the realistic scene.” watercolor and allow its unpredictable magic to
reveal itself.
Embracing the Unpredictable “I want to leave water with the power to
Fracasso’s exact palette changes with his sub- create something different and unpredictable
ject and with the feelings he wants to express every time.”
in a given work, but he generally uses 18 col-
ors, many of them from Daniel Smith. AUSTIN R. WILLIAMS is the editor of Drawing maga-
“I love trying other colors and materials, such zine (drawingmagazine.com) and an occasional
as acrylics, inks and gesso,” he says. “This is contributor to Watercolor Artist.

Watercolor Artist | August 2017 57


9 T H A N N U A L I N T E R N AT I O N A L

watermedia Ea rl y -B i rd
showcase D e a d l i n e:
J u l y 3 , 2 017

Your painting could win $2,500


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Catapult your best painting into the spotlight by entering the Watermedia
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Enter by July 3, 2017, for your best entry price.

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Gift cards courtesy of
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To the Church (watercolor on paper, 9½x13), Peto Poghosyan, Yerevan, Armenia

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Watercolor essentials BY LY N N F E R R I S

Into the Shadows


It may seem counterintuitive, but you can achieve more depth
and luminosity in your paintings by using just three colors.

The strong path of light in Gathering (water-


color on paper, 21x29) leads the viewer’s eye
through the painting and brings emotion to
an otherwise ordinary scene.
P erhaps more than any other ele-
ments, light and shadow have
the ability to alter the emotional
transformed by an artist’s extraor-
dinary use of light and shadow, yet
we often persist in treating these
core of a painting quite dramatically. crucial elements as finishing details
We’ve all viewed an ordinary scene in our own work.

Watercolor Artist | August 2017 59


r l r l

Shadow Play
Why Begin With Shadows? (watercolor on
When shadows are added as an paper, 21x29) uses
three primary
afterthought, they’re less likely to
colors to cast both
contribute to a painting’s composi- light and shadow in
tion in a positive way and may even an impactful way.
I determined that
have a negative impact. When this
only the potted
happens, the temptation is to lighten flowers needed
them, resulting in ghostlike shadows the addition of
local color.
and a less confident image. By paint-
ing the shadows first—either as habit
or as an occasional exercise—you’ll
find that your compositions improve
and that the shadow areas take on
new richness.
These days, I begin nearly all
of my watercolors by painting the
shadows first. This hasn’t always
been my approach, but once I settled
on it, its positive impact on my
paintings was undeniable.
In the demonstration on pages
62-65, I take a simple scene and
paint just its shadows using three
colors. The result looks complete
as is, but can be filled in with local
color and details later for a more
realistic appearance.

artist’s toolkit
• Surface: I use Arches 140-lb. cold-pressed paper when working with
multiple layers. The paint from the layers below stays put when new
layers are added on top.
• Primary paints: Phthalo blue: Some brands have a “green shade” and
a “red shade.” I use the green shade as my go-to blue. It layers beau-
tifully because it’s transparent and staining. Alizarin crimson: This is
a cool red that balances well with phthalo blue, both in hue and inten-
sity. A weaker red could be overwhelmed easily by this potent blue.
Cadmium yellow (light or pale): Although I use just small amounts of
this color in shadow areas, I like that it’s a true yellow without any
green overtones or chalkiness.

60 watercolorartistmagazine.com
Light and Shadow
Study (watercolor
on paper, 10x14)
stands on its own
as a dramatic
painting without
the addition of
local color.

I painted Joe (watercolor on paper, 30x22) using the shadows-first technique. Once the
shadows were in place, I mixed a fleshtone from my three primaries and glazed over all but
the most sunlit areas of his face and hands. Then I used a transparent burnt sienna to provide
a light wash of color over the table. The smoke effect was created by lifting with a dampened
paper towel. The strong use of light and shadow in the painting helps create mood, character
and personality without a lot of detail.

Watercolor Artist | August 2017 61


r l r l

painting just the shadows


In this demonstration, I take an palette is limited, it’s anything but compositional interest. I also like
architectural scene and break it limiting. I think you’ll see that these that the depth provided by the
down into just two shapes—one I’ll colors produce vibrant, varied and overhang of the porch invites the
paint as shadow and the other will exciting shadows. use of rich, mingled darks.
be the sunlit area that won’t receive Almost any scene can be
any paint. painted with this approach; how- Step 1: Making the Shadow “Map”
When working with intense shad- ever, you may find a first attempt I begin by placing a piece of tracing
ows, I find the key to maintaining a goes most smoothly with forms paper over the photo and, with a
sense of luminosity is keeping my that have obvious divisions of pencil, shade in the shadow areas.
color palette simple by using just plane, such as buildings. I chose During this step, I’m careful not to
the three primaries. My go-to colors this architectural closeup (above), confuse light and shadow with light
for painting shadows are phthalo because the strong cast shad- and dark. If an object has a local
blue, alizarin crimson and cadmium ows clearly define the form, and color of black, but it’s in sunlight,
yellow (light or pale). While this the triangular elements add it will be part of the sunlit shape.

62 watercolorartistmagazine.com
2 3

Before moving on to the drawing look at it in a mirror. This lets you areas with a light “X” pencil mark to
phase, I review the completed map objectively assess the design inde- remind myself to keep my paint-
to ensure the design has a strong pendent of the subject matter. brush away.
composition and makes sense visu- Finally, I select an area where
ally. Sometimes artistic license is Step 2: Creating the Drawing I’ll place bounced light within the
necessary. For example, if a sunlit With the map as reference, I draw shadows and mark it with a faint “G,”
roof disappears into a clear, bright the image and then lightly add an for “glow” (in this case, the eave).
sky, I’ll select one or the other to outline of the shadows, imagining
become part of the shadow shape, them not as separate objects, but Step 3: Applying the First Layer
or I might add a few trees as a single continuous form (or of Paint
in shadow behind the house. forms). The drawing stage is also Working wet-into-wet, I begin to
Tip: To determine whether a when I want to protect the sunlit paint the shadows at the bounced
composition is strong, hold your areas. I block small areas off with light, dropping in a gold made from
shadow map upside down and masking fluid and mark larger cadmium yellow mixed with a touch

Watercolor Artist | August 2017 63


r l r l

3 detail 4
of alizarin crimson and allowing light bouncing onto the cheek of red-violet I mixed using alizarin
it to expand outward. (For a closer someone in a red shirt—it can pro- crimson and just a bit of phthalo
look, see “3 detail,” above). I like to vide a spot of warmth and interest blue. By surrounding the gold with
maintain spontaneity while mixing in an otherwise cool-hued area. this warm violet, I’ve created a
colors, although I use the yellow I like to find one or two places transition area to prevent the “spot-
sparingly to avoid muddiness. I’m in every painting to introduce this light” effect, as well as to provide
going for a fairly colorful look here; bit of warm light, using it to subtly a bit of protection against the gold
additional layers will make the draw the viewer’s eye. I want this becoming murky.
colors progressively more neutral. area of bounced light to appear
as a soft glow, not a spotlight. To Step 4: Building the Second Layer
3 detail: Creating Bounced Light achieve this effect, I wet the area I isolate the areas within the
When light bounces off a reflective and then drop in a pale gold com- shadow shape that will be the light-
or colored surface and then hits a prised of cadmium yellow mixed est and add a second layer
shadowed form, it often will cast a with a touch of alizarin crimson. of paint to all shadow areas except
bit of glow into the shadow. If that While the surface is still wet, those sections. I generally allow
color is a warm hue—for example, I paint around the gold with a the colors to layer in a random way,

64 watercolorartistmagazine.com
5
but if I find a color that needs to be
toned down, I’ll layer a complemen-
tary color over it. Likewise, if I see
a color that I particularly like, I’ll
layer the same color over it to
accentuate it.

Step 5: Adding Depth and


Dimension With Darker Layers
I repeat the process of adding
layers, each one getting a little I add a few final touches—a porch lamp and stronger darks in some of the windows—to create addi-
tional contrast, visual interest and just a hint of detail in Morning Sun (watercolor on paper, 20x14).
darker and leaving more out to con-
tinue to define the forms. It usually
takes four or five layers of paint to
achieve a full feeling of depth, struc-
ture, value contrast and design.

Watercolor Artist | August 2017 65


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66 watercolorartistmagazine.com
Robbie Laird
Watermedia Artist, Teacher, Juror Our Jan Sitts
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dimensional art in watercolor or acrylic on paper or Contact: Madeline Island School of the Arts Wheel in Watercolor. 2-Day Watercolor Workshop.
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Digital entries at CallforEntry.org register@mendocinoartcenter.org or 1/20-1/28/18, Oahu. Hawaii Plein Air Workshop.
www.mendocinoartcenter.org Contact: Wiegardt Studio Gallery, 360/665-5976
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Workshops Instructional Studio Workshop. 5-day Workshop in
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Contact: 678/513-6676, toncouch@mindspring.com Contact: 678/513-6676, toncouch@mindspring.com MAINE
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Workshop! the charm of Victorian Bayside. Subjects galore.
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Contact: Carla Heise, carlaheise@gmail.com or Demonstrations, lots of individual painting time with
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favorite spots in his own “backyard”. Coastal scenes,
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rickety docks, a farmers market, lighthouse and more.
10/9-10/12/17, Huntsville. Tony Couch, Contact: 707/937-5818 Demonstrations, lots of individual painting time with
Watercolor Painting. www.mendocinoartcenter.org personal assistance. Work in watercolor or acrylics.
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www.southernazwatercolorguild.com Tomlynch@msn.com or www.TomLynch.com 9/18-9/22/17, Katherine Chang Liu, Mixed Media.

Watercolor Artist | August 2017 67


ar tist’s marketplace
9/25-9/29/17, Patti Mollica, Acrylic & Oil. M O N TA N A 10/8-10/14/17, John MacDonald.
10/2-10/6/17, Lisa Pressman, Cold Wax Medium. Robbie Laird 10/15-10/21/17, Fran Skiles.
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NEW JERSEY Five days of plein air painting fun while exploring
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Robert Burridge
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Friday). Birmingham Bloomfield Art Center. www.FlyingColorsArt.com 6/25-7/1/17, Gay Bryant, Watercolor I. $630.
Contact: Cynthia Mills, VP of Programs
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cawregistrar@gmail.com or www.cloudcroftart.com 7/16-7/22/17, Margaret Scanlan, Watercolor Painting
Crooked Tree Arts Center.
for All (Intergenerational). $630.
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kaleigh@crookedtree.org or www.crookedtree.org Hudson River Valley Art Workshops “Through Windows and Doors.” $564.
Tony Couch, AWS 6/18-6/24/17, Liz Kenyon. 7/30-8/5/17, Kat Kitzpatrick, Hot Wax! (Encaustic).
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Watercolor Workshop Weekly on Wednesdays. 7/16-7/22/17, Gerald Brommer. 8/18-8/20/17, Kathy Chastain, Beginning Journaling &
West Bloomfield, MI 48322 7/23-7/29/17, David Daniels. Watercolor. $354.
Contact: Chris Unwin, 248/624-4902 8/2-8/6/17, Alvaro Castagnet. 8/20-8/26/17, John Mac Kah, Critters & Creatures –
ChrisUnwin@att.net or www.ChrisUnwin.net 8/6-8/12/17, Kim English. Painting Animal Folk in Oils & Acrylics. $630.
9/3-9/9/17, Self-Directed Retreat. 8/20-8/26/17, Annie Cicale & Redenta Soprano,
M I N N E S O TA 9/10-9/16/17, Ann Lindsay. Botanical Books: Traditions Old and New. $630.
Tony Couch, AWS 9/17-9/23/17, David Taylor. Contact: John C. Campbell Folk School
9/18-9/21/17, Plymouth. 9/24-9/30/17, Leah Lopez. Brasstown, NC 800-FOLK-SCH or
Contact: 678/513-6676, toncouch@mindspring.com 10/1-10/7/17, Skip Lawrence. www.folkschool.org

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68 watercolorartistmagazine.com
Kanuga Contact: Tracy Culbertson, 503/930-4572 WA S H I N G T O N
4/7-4/13/18, Hendersonville. M.E. Mike Bailey, Carrie info@artinthemountains.com or Birgit O’Connor
Burns Brown, Kathleen Connover, Linda Kemp, Robbie www.artinthemountains.com
10/2-10/6/17, Vancouver. Fearless Florals SWWS.
Laird, Dale Laitinen, Dean Nimmer, Jean Pederson, Doubletree Resort by Hilton Contact: Charlene Shelfer, 503/705-5277
Richard Stephens, Debora Stewart, Jo Toye and Soon Myrtle Beach Oceanfront charandbobs@comcast.net
Warren. 10/29-11/4/17, Session One: Linda Daly Baker, Carole
Contact: Robbie Laird, 530/259-2100 Jan Sitts
Barnes, Carrie Brown, and Alex Powers.
www.KanugaWatermediaWorkshops.com 11/4-11/10/17, Session Two: Kathleen Conover, Skip 8/7-8/10/17, Coupeville. Texture/Color/Feeling.
Tom Lynch Lawrence, Mark Mehaffey and John Salminen. Contact: Lisa Bernhardt
11/10-11/12/17, Raleigh. Contact: 843/315-7011 Lisa@PacificNorthwestArtSchool.org
Contact: 630/851-2652 www.springmaidwatermedia.com Eric Wiegardt, AWS-DF, NWS
Tomlynch@msn.com or www.TomLynch.com 7/10-7/14/17, Long Beach Peninsula.
TEX AS
Birgit O’Connor MASA Paper: Exploration & Discovery.
6/12-6/16/17, Boone. Fearless Flowers. Cheap Joe’s.
Jan Sitts Contact: Wiegardt Studio Gallery, 360/665-5976
Contact: Edwina, 800/227-2788 ext. 1123 TBA 2018, Granbury. Texture/Color/Feeling. 8/14-8/18/17, Long Beach Peninsula.
edwina@cheapjoes.com Contact: 817/326-5629
Watercolor Plein Air Workshop.
OREGON U TA H Contact: Wiegardt Studio Gallery, 360/665-5976
Eric Wiegardt, AWS-DF, NWS watercolors@ericwiegardt.com
Art In The Mountains 10/23-10/27/17, Spokane.
7/31-8/4/17, Bend. Richard McKinley, “A Central 6/5-6/9/17, Ephraim.
Wiegardt’s Painterly Watercolors. Wiegardt’s Painterly Watercolors.
Oregon Summer” plein air and studio. Intermediate to
Contact: Summer Snow Visual Arts Workshop Contact: Spokane Art Supply
Advanced students.
Snow.edu myers-davis@comcast.net or
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“Be Brave and Have Fun”, watercolor - plein air and watercolors@ericwiegardt.com
VERMONT
studio. Unearth fresh and honest art inside yourself WEST VIRGINIA
Tom Lynch
and learn to capture it with paint.
8/21-8/25/17, Bend. Fabio Cembranelli, “Intuitive 7/25-7/27/17, Burlington. Jaimie Cordero
Painting, Transcending the Subject!”, watercolor, Contact: 630/851-2652 10/26-10/28/17, Hedgesville. Translucent Fall Colors in
studio. Learn to take advantage of transparent Tomlynch@msn.com or www.TomLynch.com Watercolor. 3-Day Plein-Air Watercolor Workshop.
watercolor to create loose, intuitive, free and Tony van Hasselt, A.W.S. Contact: Jaimie Cordero, 786/303-5293
spontaneous effects in your paintings. 7/17-7/21/17, Landgrove. Five days of plein air painting WDJaimieC@aol.com
8/28-9/1/17, Bend. Jane Davies, “100 Drawings, fun exploring the bucolic charm of a rural summer
Paintings, and Explorations”, acrylic, studio. landscape. Comfortable accommodations, gourmet WISCONSIN
How do you make good art? How do you make art meals and a spacious studio. Demonstrations, lots Robert Burridge
that is truly yours? of individual painting time with personal assistance. 6/25-6/30/17, Lac du Flambeau. Loosen Up
Contact: Tracy Culbertson, 503/930-4572 Work in watercolor or acrylics. with Aquamedia Painting. 5-day Workshop
info@artinthemountains.com or Contact: www.vanhasseltworkshops.com (Monday-Friday). Dillman’s Bay Resort.
www.artinthemountains.com Eric Wiegardt, AWS-DF, NWS Dillman’s Creative Arts Foundation.
Tom Lynch 6/19-6/23/17, Landgrove. Contact: 715/588-3143
9/25-9/28/17, Springfield. Composition: Creating an Area of Dominance. vacations@dillmans.com or www.dillmans.com
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SOUTH CAROLINA VIRGINIA Contact: 678/513-6676, toncouch@mindspring.com
Art In The Mountains Tom Lynch Tom Lynch
10/16-10/20/17 and 10/23-10/27/17, Charleston. 8/4-8/6/17, Richmond. (Plein Air WS) 7/10-7/14/17, Lac du Flambeau.
Charles Reid, Drawing and Painting with Charles Reid Contact: 630/851-2652 Contact: 630/851-2652
- Studio. Intermediate to Advanced. Tomlynch@msn.com or www.TomLynch.com Tomlynch@msn.com or www.TomLynch.com

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Watercolor Artist | August 2017 69


ar tist’s marketplace
Madeline Island School of the Arts
6/19-6/23/17, Konstantin Sterkhov.
6/26-6/30/17, Chien Chung Wei.
7/10-7/14/17, Joe Paquet.
7/24-7/28/17, Bryan Mark Taylor.
7/24-7/28/17, Jane Davies.
7/31-8/4/17, Herman Pekel.
8/7-8/11/17, Sterling Edwards.

2018 WATERMEDIA
8/14-8/18/17, Frank Eber.
8/21-8/25/17, Ted Nuttall.
WORKSHOPS 8/28-9/1/17, David Taylor.
9/11-9/15/17, Margaret Dyer.
9/18-9/22/17, Fabio Cembranelli.
Hendersonville, North Carolina 9/25-9/29/17, Plein Air Painters of America
Master Workshops.
Instruction - Sun.-Thu. 11/13-11/17/17, Eric Wiegardt.
11/27-12/1/17, Karlyn Holman.
(April 7-13, 2018) Contact: 715/747-2054, www.madelineschool.com
Jan Sitts
M.E. MIKE BAILEY 6/12-6/15/17, Lac du Flambeau.
Texture/Color/Feeling.
CARRIE BURNS BROWN Dillmans Art Workshop Retreat.
Contact: Denny or Sue, 715/588-3143
KATHLEEN CONNOVER ROBERT BURRIDGE W YO M I N G
LINDA KEMP Tom Lynch

ROBBIE LAIRD • Burridge Studio App 6/5-6/9/17, Cheyenne.


Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com
DALE LAITINEN • Free Online Newsletter
DEAN NIMMER • Free Weekly BobBlast International
JEAN PEDERSON BALI
RICHARD STEPHENS • Current Workshop Schedule Flying Colors Art Workshops
August 2018, Ubud and Candi Dasa. WC.
DEBORA STEWART • Workshops in Bob's Studio All levels of instruction.
Contact: Cris Weatherby, 858/518-0949
JO TOYE FlyingColorsArt@me.com or
www.flyingcolorsart.com
SOON WARREN C H I N A , KO R E A , JA PA N
Art In The Mountains
www.KanugaWatermediaWorkshops.com 3/21-4/1/18, Karlyn Holman or Lian Quan Zhen.
Watercolor workshop in studio during ‘at sea’ days.
Chris & Barbara Hutchison, Co-Directors Port Days are yours to explore.
Kanugaww@gmail.com RobertBurridge.com Contact: Tracy Culbertson, 503/930-4572
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FRANCE
Tony van Hasselt, A.W.S.
10/13-10/23/17, Provence. A plein air watercolor and

IMPROVE YOUR sketchbook journaling workshop. Unpack once and


paint in medieval Vaison la Romaine as well as in
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PAINTING SKILLS ! assistance. 3 and 4 star accommodations and most
meals.
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G UAT E M A L A
Flying Colors Art Workshops
February 2018, Antigua and Panajachel. Kathleen
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I TA LY

Live!
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Eric Wiegardt, AWS-DF, NWS
9/16-9/30/17, Venice. Plein Air Workshop.

ONLINE
Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com

ART COURSES
MEXICO
Flying Colors Art Workshops
3/4-3/10/18, San Miguel De Allende. Judy Morris, WC.
WITH JOHANNES All Levels Welcome.
3/11-3/17/18, San Miguel De Allende. Betty Carr, WC.

VLOOTHUIS
All Levels Welcome.
10/21-10/27/18, San Miguel de Allende. Don Andrews.
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FlyingColorsArt@me.com or
www.FlyingColorsArt.com
Visit ArtistsNetwork.com/ NEW ZEALAND
WetCanvasLive to register Art In The Mountains
1/31-2/10/18, New Zealand Cruise/workshop and
or for more information. 2/10-2/12/18 plein air in Sydney, Australia with David
Taylor. “Strength and Flow of Watercolor”.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com or
Limited seating is available for each seminar.
www.artinthemountains.com

70 watercolorartistmagazine.com
Call for Entries

EARLY-BIRD
DEADLINE:
SEPTEMBER 5

We’re looking for artists age 60+ 10 winners — $250 each


working in two dimensions in all art media. 10 winners will be prominently featured
Submit your work and you could see it in the magazine and will receive $250
featured in The Artist’s Magazine! each in cash prizes.

For complete guidelines and to enter, visit


artistsnetwork.com/competitions/over-60-art-competition
Vase with Flowers V by Kristin Herzog (acrylic on canvas, 36x36); photo by Peter Toth
picture this
B Y B E V J OZ W I A K

Lavish Locks

Cotton (watercolor on paper, 17x20)

W hat drew me to this figure


was her beautiful mane;
I wanted to focus on her face and
“Personality is everything in art
and poetry.” —Johann Wolfgang von Goethe
hair, and let the rest of her be just
a suggestion. yellow ochre, with washes of manga- then added water as I moved toward
I’ve been told that I paint back- nese blue hue around the eyes. the edges. I didn’t mix up a puddle,
ward for watercolor, putting in the To paint the hair, I used burnt but instead placed varied colors next
darks first, but it just feels right sienna, French ultramarine blue, to one another. As I got near the
to me. To paint the face, I started manganese blue hue and rose madder edges, I sprayed the paint with a fine
with a combination of burnt sienna, genuine. I painted the darkest darks mist while adding more color, which
cadmium red and French ultrama- first, using fairly thick colors, and helped the curls stay lively.
rine blue. As I moved into the lighter
areas, I used cadmium red and Bev Jozwiak shares tips on painting children on page 40.
72 watercolorartistmagazine.com
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