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13 Paintings in Four Stages and Full Color Ik Jffjr
Ibm Lynch (Biography HMBM
by Linda Gassman Rhodes

Eleven-year-old Tom Lynch peered anxiously in the kitchen at his mother. He had recently

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I
misbehaved, and she was upset. Hoping to make peace. Lynch offered his mom a painting he made.
When he handed his mother his drawing, she praised the picture 's beautiful blue sky, and her anger
melted away. Proudly she anchored his art to the refrigerator, and Lynch's latest creation was
displayed in the "gallery" with his other works.
Thus began Illinois watercolorist Tom Lynch's career. Today he is a nationally recognized
teacher and artist whose paintings hang in private, public, corporate, and museum collections
across the country.
Tom's Magic of Watercolor television series, viewed in 1 50 cities nationwide, has made his face
almost as familiar as his works. As author of abook that supplements the television instruction, and
illustrator of cards, calendars, and magazines. Tom's talents are acclaimed in several areas of the
art world. Also noted for his astute business sense, he provides a rare combination of talents of the
creative and business worlds.
Tom displayed determination and drive even as a child. Unlike many youngsters who wouldn't give another thought to their paintings
after they were displayed, he continually evaluated his work, seeking improvement. "Often I would see some things I wished I could do
better or do again, so I would go back and improve. I would always feel the challenge of doing it well, because I knew it was going to be
on display," says Tom.
Tom's fascination with art developed although his grammar school had no art classes. His interest grew, fed by praise from parents and
teachers. Finally, his seventh grade teacher recognized Tom's talent and recommended he take special art classes at night at the nearby high
school. "Once I started taking classes at the high school," Tom says, "then I was exposed to quality art. That's when I said, 'That's what
I want to do.'" In won an art competition and the prize: 16 weeks of classes at Chicago's American Academy of Art. After
high school, he
completing the classes, Tom continued at the Academy throughout high school and for three years after graduation. Then he attended the
University of Illinois.
In 1972 Tom began working as an illustrator, doing layouts and preparations for newspaper ads. At the same time he was preparing for
a fine arts career by observing art fairs. For a year he traveled from fair to fair, noting how pictures were displayed, comparing prices, seeing
why some artists were doing well and others weren't. The next year Tom exhibited in fairs. Because he had researched, he knew how to

display his art, price it, and reach the public. Lynch attributes much of his success to research, planning, and good business sense. In fact,

he stresses the importance of the business aspect. "The first thing I did," says Tom, "was develop a clientele —a list of people, who not
only purchased, but who showed interest in my work." Using a guest book at shows, offering a drawing for a free print or picture at displays
(people register with name and address), taking names and addresses from checks of people who buy his art are ways Tom continues to
increase his mailing list. (continued inside back cover)
 FUN WITH
It II I K< 01 OK
This book is based on the T.V. Series Fun With Watercolor.

Produced by Graphics Plus of Florida Inc. and Raphael Artist Brushes.

CONTENTS
Acknowledgments 2

Introduction 3

Preparation 4-17

Ready to Paint 18

Painting Titles 19

Village Church 20

Red Bucket 24

Big Sky 28

Dry Dock 32
Night Town 36
Rag Dolls 40

Morning Light 44
Fresh Flowers 48

Country Road 52

High Seas/Calm Seas 56

River Reflections 60

Breakfast Table 64

Snow Shadows 68

Learn More About Watercolor Painting 72

Publisher; Graphics Plus of Florida, Inc.

Author, Artist and Creator of Instruction Methods: Tom Lynch

Edited By: Donna J. Pintek
Production Director: Gordon Chabot
Production Assistant: Frank Dobieski
Photographer: Gary Hester

First published in 1988 in Delray Beach, Florida by Graphics Plus of Florida, Inc. Copyright © MCMLXXXVIII by Graphics Plus of Florida, Inc. All rights reserved. Permission granted
retail purchaser of this book to use designs for personal development. Drawings and paintings made by the purchaser of this book, may be signed and sold. No other reproduction,
in part or in whole, by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or information storage and retrieval systems, may be made without
express written permission of Graphics Plus of Florida, Inc., 400 N.E. 3rd Street, Delray Beach, Florida 33483.

ISBN 0-943295-03-3
Library of Congress Catalog Card Number: 88-071-283 Second Printing 1989 Printed in USA
(Dedication

. . .this book is dedicated to my father.

I love all my family, but dads tend to
hear about it last. This time I want

you to hear it first. . .

I love you, Dad.

ftckfiowkdgmmts

There are many people who deserve a word of thanks and credit Additionally, I thank: Janell, Tami, and Traci. . .I'm glad we
for having helped assemble the TV series, this book, and better had a chance to share this one together. For the true meaning of
yet, me. success is discovering our hearts and having someone to share love
with. I'm happy to say we have the best of both. Thank you ladies.
To my parents: You have spent your life giving of yourselves
to me. I'm glad now that I can finally return the favor. To my To my staff: When the pressure was on me, you know who I gave
sisters, Sharon, Pat and Lisa: A few miles and a few kids may keep it to. You deserve a big thank you. I have asked you to jump through

us apart, but they will never come between our love. hoops at times. You have done so above and beyond the call of
duty. Thanks team. . Sheila Vaughan, Martha
.Nedra Stott,
To my friend, Richard Jamiolkowski: If the world only knew
Schwenk, David Jamiolkowski, Ann Jamiolkowski, Steve Jami-
how your ideas and energy got this all started. Thanks R.J.
olkowski, Steve Bodine and Todd Bayuk.
To my teachers, John Pike, Ed Whitney, Robert E. Wood,
A special thanks to the collectors whose paintings I used for this
Zoltan Szabo, Nita Engle, Irv Shapiro, William Florence, John
book, Richard Van Stockum, Harry & Marie Colvin, Kent Mar-
Fredrickson, Burt Silverman, Richard Earl Thompson, Bob
burger, Rick Rubner, Herb Harding, and Harry Richards.
Doherty, and Vern Stake: It was a few years and a few TV shows
ago, but I still haven't forgotten. . .Thank you. To my new friends, Lou Lewis and Mary Lewis: You never
know who is going to call you and what will come of it. With this
To my students: I've traveled around the world and made
call was a man of vision and action, and, henceforth, a new book
thousands of new friends, thanks to you. Much of what we have
and TV series. But best of all, I have lifelong friends in the Lewis's.
done in workshops is reflected in this book. Your desire to learn
has helped keep alive my desire for excellence. . .Thank you. To Gordon Chabot. . .Anyone that can put together my notes,

To my WXEL family: am coordinate a layout, and organize my numerous drawings and

I grateful for your support, profes-
paintings deserves great appreciation. Thanks for your expert help
sionalism and hard efforts in making my new TV series a step
in assembling this book.
forward. I'd like to extend thanks to Celeste for directing and to
Jim Moran for taking a chance on some new ideas.
 SI wordfrom ^om Lynch
If you have sensitivity and the ability to think, you are an artist.

Art is we have a chance to do

a process, not a product. With art talent grows, you'll consider going on to take classes in advanced
something impactful with our lives, for we are reviewed and watercolor techniques. With watercolor, as with all forms of art,

remembered most by what we leave behind. What could be better you never stop learning. I still consider myself a student, intent on
than art? Art shows what we are, what we think, and what we feel becoming a master.
about the world around us. There is not just one way to paint. I have been taught by some
My ambition is to create a painting where the power of sugges- of this country's master watercolorists, people like John Pike, Ed
tion is stronger than the technique — the impact stronger than the Whitney, Robert E. Wood, Zoltan Szabo, Nita Engle, Irving
detail. This forces me (and the viewer) to use our imaginations. Shapiro and others. I am a product of all their talents. There are
Imagination is the key that unlocks the door. If you have an open touches of each of them in what I do. Expanding someone else's
mind and a positive attitude about painting, the pages ahead will be idea or applying someone else's technique is my way of sharing
easy and fun for you. Most important, think positive, always. with you what they have shared with me.
Throughout this book and the television series, my aim has been Come with me and together let's explore this fascinating
to introduce you to the fun and excitement of watercolor painting. medium called watercolor. I am not your teacher but rather
By giving you the fundamentals, I am leading you through the door
and taking you to where the path begins. It's up to you to follow the
someone who wants to share
with you what I have found.
^ faWn
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path to wherever it may lead. My hope is that, as you paint, and your

Introduction
The objective of this guideline is to briefly explain the mechanics of watercolor painting in order to spark your imagination and
inspire you to paint. Experience will, ultimately, be your best teacher. Allow yourself the time to absorb the fascinating qualities
of these paints. Rewards will soon follow.

TOM LYNCH DEFINES WATERCOLORS

Watercolor today is a highly diversified and exciting means of with them and practicing each over and over again. All of my
expression. It offers the artist great latitude and flexibility. It can techniques have been acquired through constant action and inter-
be soft, quiet and illusionary, or bold, positive and precise. It is action with other learned techniques.
capable of depicting textures with quiet reserve or explosive im- To begin, try the techniques exactly as I have shown them, then
pact. add your own ideas and experiments, and experiment further, so
Versatility is the keynote of watercolor painting. One can work before you start a watercolor painting, practice, practice, practice!
in a variety of techniques ranging from thin, dry, transparent Your paintings show these efforts. Importantly, have fun with
will

washes glazed one over another to thick, rich, nearly opaque build- all you might end up cutting them up and
these practice exercises;
ups of color painted wet into wet. This versatility allows the using them as greeting cards. Don't be concerned about making
watercolor artist a chance to create the illusion of solid form with something out of them but have fun, stay loose and be bold. Keep
transparent pigment. The intrinsic qualities and unlimited poten- experimenting, testing and trying your own methods until you
tial of watercolors encourage artists to explore, experiment, and have gained a feeling and confidence that we watercolorists must
express themselves. Watercolor painting is a mirror for the artist, have. Oil painters can push paint around and then think. Water-
reflecting moods, emotions, strengths and weaknesses at any given colorists have to think first and then put brush to paper. Once you
moment. become familiar with these techniques, start painting and be
Many things can be said about watercolor, but you must paint confident of your results.
and paint often to really get the feeling for this magnificent
medium. VARIETY
Variety is the cornerstone of successful painting. In the pages that
WATERCOLOR PAINTING TECHNIQUES follow, I explain several techniques in detail; however, keep in
To me, experimenting with techniques (highlighted in the follow- mind that in using any and all techniques, you must have variety.
ing pages of the book) is actually more important than following Demonstrate variety in size, variety in shape, variety in color,

the steps, or lessons, of completing a finished painting. If you can variety in value and variety in edge. The eye and mind are
master the techniques, you can create any painting. Merely follow- connected. The more changes we can give the eye, the more
ing the examples and doing a painting step-by-step will only help excitement and stimulation we give the mind; therefore our view-
you in achieving that one single work of art. Experiment with the ers determine in a single glance the enjoyment of what they are
techniques on the following few pages; once you have mastered looking at. Looking back as a way to improve my paintings, I can
them, you have mastered watercolor without even completing your see that 90 percent of them could be improved further by adding
first work of art. variety of one sort or another. Seldom can you get yourself in
I learned these same techniques by using them, experimenting trouble by having too much variety in a painting.

3
Preparation
PAINTS should position your working surface so that the top of the paper

Watercolor paintings gleam with freshness and brilliance because

is somewhat higher than the bottom, tilted at about a 15-degree

watercolor paints, although opaque emerging from the tube, be-

angle. This slight slant helps colors to blend together. When you
mixed with water. Their transparency then want to stop the blending, you will want the paper to be flat, so you
come transparent once
lets the whiteness of the paper show through.
should have a small block of wood or other object to slip under

For the paintings in this book —

and for all my paintings I — your painting to lift the top two to three inches.

use tube watercolors (Hunt Speedball brand). Non-staining colors

erase, and allow me to change my mind even after the color dries.
You should buy good-quality tube paints with pure, bright pig- BRUSHES
ments — not those dulled with fillers. Squeeze out fresh paint
ever>' day you paint; don't try to save your paint overnight. In wa-
tercolor, water not white paint, is used to lighten paint. And, for
objects that are pure white, that part of the paper is simply not
painted.
My theory with paint is to select a light value and dark value for
each color. I also select the brightest color available, because it is

very easy to gray down a bright color. It is very hard to make a gray
color look bright. I don't like muddy colors, so I use bright fresh
professional colors.

PALETTE
The palette is to the artist what the stockpot is to the cook: a place

where ingredients are stored and blended in preparation of the

masterpiece. Palettes for watercolor paint come in many different

styles. (Beginners may even choose a white porcelain plate.)

Good-quality brushes are a worthwhile investment, that will reward
The better palettes have several deep wells along the outside
you with beautiful results. I have always said that the brush is my
edge to hold the pure paint, and a large undivided mixing area in the
single most important tool. I believe in natural hair brushes, and
center for diluting and mixing. The best palettes have a lid that will
"Kolinsky" Sable is known throughout the world for being the
keep the paint moist overnight. I designed a palette with these
best. As with anything, the best costs a little more. Your only
features and also three deep wells for mixing large puddles of color
for toning, glazing, or painting large areas the same color. The
assurance is that you'll have the finest brush — one that will last

a lifetime.
interior is roomy enough to enclose a large moist sponge, a feature
I have been in many studios, and everyone has a favorite brush.
that allows paints to stay moist for up to a week.
Ninety-nine percent of the time it is a Kolinsky Sable. Surprisingly,
there is a difference between brands. My first choice is Raphael,
both because of the brush and the company. I have been to the

factory and seen both the workmanship and the quality control.
They are meticulous in assembling their brushes, (often times
PAPER under magnification). They test and re-test each brush — wet and
The paper you choose for your watercolor painting must be top dry. I have seen them reject a brush because a letter on the handle
quality, just as your paints and brushes. For most of the paintings was not dark enough. Furthermore, the company is family owned
in this book and, indeed, for almost all watercolor painting, the and stands behind each product. (They replaced one of my stu-

paper of choice is 140-pound, cold-pressed, from 100 percent rag dents' new brushes because a hair fell out.)

fibers. This paper is heavy enough to withstand some of the more Quantity is not important; you need only a few quality brushes.
abusive watercolor techniques — scratching out and erasing paint Pictured here are a few of my 'ole reliables.
— and it is thick enough to use the other side if you do not like what When testing a brush, ask the clerk for a cup of water; wet and
you have painted on one side. "Cold-pressed" refers to a paper- soften the brush. Do some imaginary painting to see how much
finishing technique that makes the surface of the paper slightly bounce the brush has, how itcomes to a point, how much water it
textured, which helps in turn, to add texture to some of your brush holds (will it splatter off?). Does the brush split or will it fan out
strokes. Also, the fiber content of the paper is important. I insist on evenly?
paper made of 00 percent rag
1 fibers, which is acid free and will not Never leave the brush standing in water. Avoid touching the
become brittle or yellow over time. Don't be misled into buying brush hair — the oils on your skin can adversely affect the delicate
"rag content" paper. fibers. Finally, always shape your brush after you have finished for
Regardless of the type of paper on which you are painting, you the day.
 (Preparation

OTHER SUPPLIES
You have all the basic supplies in
paint, paper,and brushes. When
you get hooked on watercolor,
like I have, you'll want to add

some extras. (What do they say

about grown men and their toys?)
Well, I've used many of the fol-
lowing items on TV; some you
can find laying around the house:
large plastic water container, tis-

sues, sponges, pencils, stapler,

soft cloth towel, salt shaker, cot-

ton swabs, spray bottles and a

hair dryer. Plus there are other
specialty items you can add to
your collection as you progress.

These are the bask, supplies you will

need to complete the paintings in this

book. All are available at your local

art store.

\*fn\y
(Preparation

STRETCHING THE PAPER type of marks that each can make. Ideally, your brush strokes
should appear very natural and not stiff or geometric. I often hold
the brush at a 45-degree angle with the side of the brush touching
the paper, and work with it in a swirling fashion. I used this

technique for the clouds in Big Sky.

Dry brush is somewhat of a misleading term since the brush is
not really dry; just damp but drier than when painting a large
it is

heavy wash. When practicing brush strokes, practice shape. Make

the marks interesting and different in size and shape. Avoid too
many static or geometric shapes, which can be distracting, unless
the entire painting is loaded with them, then it becomes a unifying
force in the painting. The lines on the paper indicate the direction
in which the brush was moved.

SHAPES

INTERESTING SHAPES

The safest rule of thumb for watercolor painting is pre-stretching

the watercolor paper so that while you are painting it will not

buckle. To do this, completely immerse the paper in water (your

bathtub will do) and let it sit for one half hour. Next, lay the
soaking-wet paper on a sheet of plywood or a drawing board, and,
using an opened stapler, apply a row of staples along one edge and
then lift and pull the other end. As you pull, have someone else
continue stapling all around the paper. Be careful not to dent or
smudge the watercolor paper; it is very sensitive while wet. Put in
staples every 1 inch around entire paper.

BRUSH STROKES

It is my feeling that the shape of the painted object is the first thing
that the eye focuses on when looking at a painting. Regardless of
T) whether it is the hair of a doll, the leaf of a tree, or a rock in the

CLOUDS foreground, a sky, or a cloud, the viewer will notice first and enjoy
most, the fact that it is an interesting shape.
Certain shapes, however, are taboo in painting. In a landscape,

'
for example, I suggest staying away from a circle, square, rec-
i,Mii*&(~ '
'

GRASS
tangle, triangle, or a straight line. Whenever possible, create your
own interesting shape rather than resorting to one of these static

shapes. Overlap two or three shapes to create a unique look. Using

a large flat brush, and using different parts of the same brush, you
I 45° ANGLE

-ft FLAT BRUSH

ON SIDE
will be able to create some of the different shapes seen
ample. Again, where you have to use a straight line or a rectangular
in the ex-

shape, overlap it with other shapes so that the stark, static quality

Whatever type of brush you use — round or flat, short hair or long, will not be overbearing.
natural hair or synthetic — you should practice with that brush to In the course of my own training, I have done pages and pages
learn the different types of brush marks that the brush will make on of these interesting brush stroke shapes so I almost automatically
the paper. Depending on how wet the brush is and how you use the paint in this manner. Whether it be the shadow across a bottle,

brush, each brush can form a variety of strokes. The example above across the road, or a field, I am thinking of thick and thin, large and
shows several different brush strokes all from the same flat brush. small, up and down, in and out, and not having the same mark travel
Notice the differences between using the end, the side, the heel, or for more than four inches in any direction.
the edge where the brush is heavily loaded with color, or lightly Think not only of the brush mark that you are making, which is
loaded with color, scraping quickly, or moving slowly across the the positive shape, but also the negative white spaces of paper
surface. Experiment first with all your brushes to get a feel for the which create your negative shape. These too need variety.
 Preparation
Any single brush mark can be an interesting shape. The next VARIETY OF COLOR
concern is adding other brush marks that are varied both in size and
volume. Repeating the same interesting shape defeats the purpose.
Again, my feeling is that the eye first comes to grips with what the
shape is and based on that decides whether or not to continue to

look at the painting.

Look at the center of interest abstracts and notice their shapes;

overlook the objects they represent. Find and collect interesting
pictures in nature that display interesting shapes. Notice the shape
of the tree in River Reflections, chapter 1 1 . It's not a circle with a
stick under it. Note the variety of sizes of the clouds in Big Sky, boat
in Di-y Dock, and shadows in Snow Shadows. These shapes were
improved upon from what nature offered. Practice creating shapes
in your brush stroke exercise.

WASH
It goes without saying that the color makes the painting. Without
variation in this category, your painting will be lifeless. In almost
all of my paintings, I strive for a variety of color, with subtle vari-

ations gradually moving across the page. This is achieved by

starting a painting in one area and then slowly moving across,
making the changes as you go along. Be careful, however, to make
these changes gradual and not abrupt. You can often repeat colors
as long as you keep in mind that the shift should be gradual.
Compare the two examples; you will note that one has a subtle
variety of color and the other has too abrupt a change in color. Also
keep in mind that you want to have different shapes and not a color
change exactly every one or two inches across the paper. I usually
create a painting with a theme of either all warm colors or all cool
colors. This will help create the look of unity in a painting.

I will often refer to the term "wash" in covering a part of the paper DOUBLE-LOADING THE BRUSH
with paint. This does not refer to hanging the clothes out to dry but
rather means taking a heavy brush loaded with color and water and
initiating paint to paper. Transferring paint to paper, 80 percent of
the time, is done with a loaded brush, meaning the entire brush
from tip to heel is saturated with color and water. This transfer lets
the pigment flow easily off the brush and allows you time in which
to re-evaluate your brush stroke, thus giving you the luxury of
adding more shape to the stroke you've already applied. This
addition will blend in naturally and look as though it was done in

one stroke.
The amount of paint that flows from the brush is further affected
by the speed the stroke takes across the paper. A slow stroke will
leavemore paint than a fast stroke (see example). Finally, the
amount of pressure applied as the brush moves across the paper There will be times when you want to paint an object with one
determines the thickness of the line. In the painting Big Sky, as I
brush stroke, but the object has a variety of color values. Try
painted the plowed fields, the slow release of pressure on the paper loading a flat brush with two colors. Start by cleaning the brush in
produced the thick to thin look of the plowed field. A similar
water. Then touch the sponge; touch one side to one color, and the
approach of varying pressure was used in High Seas for the distant other side to another color. You can soften the color by touching
water. Again, all it takes is merely practicing with the brush and the the palette first, or go directly to the paper if you feel the color is
different ways in which you can apply paint to paper.
soft enough. You can paint tree trunks, rocks, flower petals, roof-
tops, almost anything, using this technique. The possibilities are

endless.
Preparation

MIXING GREENS GRADED WASH

PAYNES GRAY & LEMON YELLOW ULTRA BLUE & LEMON YELLOW COBALT BLUE & LEMON YELLOW

PAYNES GRAY & ULTRA BLUE & PAYNES GRAY &

CERULEAN BLUE & LEMON YELLOW LEM0N YELL0W &
EMnN YELLOW
LEMON
,

men
dcduhulut MAGENTA
PERMANENT

^i
PAYNES GRAY & LEMON YELLOW & BURNT SIENNA
I
For the most part, I have not used a tube of green paint. Instead, I Before you apply color across an area, be sure first that the pigment
mix a variety of yellows and blues and blacks to achieve green. The is completely diluted. Using your brush, transfer a small amount of
main reason for this is so I will have a variety of color from which water to the center of your palette, add some pure color and scrub
to choose, rather than having to rely on the crutch of just using the until that pure touch of pigment is completely diluted in the water.
prepared color. Be sure and turn the brush over several times so that any and all

Experiment with your color on a spare sheet of paper by mixing traces of pure pigment fall from the brush.
the different combinations of Speedball Yellow, Paynes Gray, A fundamental principle of watercolor painting is using light
Ultra Blue, Cobalt Blue, Cerulean Blue, and Burnt Sienna. When and dark tones from the same color. Work toward achieving a
mixing the varied colors together, make a dark as well as a light graded wash in the same area. Try this first on wet paper and then
value of the same color. try to achieve the same graded wash, going from dark to light, (or
light to dark) using dry paper.

MIXING GRAYS
As in mixing greens, you can produce a much more striking effect by using varied color rather than diluting Paynes Gray with water to
achieve a light, would rather mix two, and most often three primary colors to achieve the desired tone of gray. This
middle, or a dark gray. I

lets me add more blue more red to achieve a warmer gray, or more yellow to achieve a neutral gray.
to achieve a cooler gray,
For light gray, use Cerulean Blue and
Speedball Red, with a touch of Lemon
Yellow. For medium gray, use Cobalt
Blue, Permanent Magenta, and Burnt
Sienna. For dark gray, use Ultra Blue,
Permanent Magenta, and Burnt Sienna,
with a touch of yellow. Experiment with
your color to find the perfect combination
for your specific needs.
 Preparation

TREE SPLATTER TECHNIQUES Edges are an important element in your painting and the key word
here again is variety. You can achieve soft, semi-soft, and hard
edges by going back over a brush stroke that has made a mark on
the paper; however, you must do so quickly. After that first mark
has been made with color, use another brush coated with water, or
use a spray bottle, or a combination of both. The amount of water
that you apply over the first brush stroke, or the length of time you
wait before going back over the brush stroke will determine how
soft the edge will appear.
There is no one correct way to do edges. I think it is important
to have all the varied types of edges: soft, semi-soft, and hard
edges, and, also no edge may appear in painting — even for the
same object such as the sky around the white cloud in Big Sky or
the road edge as it comes up Night Town as
to the field of grass in
many others. Variety of edges will give the painting its most
well as
A painting with too many hard edges can become
natural look.
monotonous; likewise, a painting with too many soft edges can be
uninteresting. My formula for success is 70 percent of one type of
edge (hard or soft), and 30 percent of the other.

I will often capture the character of a tree by splattering paint as

opposed to brushing it. I prefer to use a flat brush to splatter, with
BLENDING AND SOFTENING EDGES
the width of the brush facing the paper, to create a broad pattern of
colors. Using this technique, I can achieve the look of leaves.
Load a 1 -inch or 3/4-inch flat brush with a fresh variety of color
making sure that the entire brush is covered with color. Next, raise
the brush by bending your elbow —
not your wrist —
and lowering
your entire forearm, quickly stopping this motion about one inch
away from the paper. The quicker that you move your arm the
larger the pattern of splatters will be. Different size dots of paint
will fly off the bristles onto the paper (and, very often, everywhere
else). Be sure and splatter from above the paper down to the paper
(vertically), not from side to side or front to back, which will give

you a dot and dash effect. For a more controlled splattering, a

stencil is sometimes incorporated with this technique.

You can also splatter paint by tapping your brush against your
CHANGED VALUES CHANGED SHAPE
finger. This method is especially good for achieving smaller, finer
dots — indicating smaller tree leaves.
Very often I will blend completely or lightly soften the edge of a
painted brush stroke. It is my feeling that a painting should not be
an accumulation of brush strokes but rather a very natural look on
EDGES the paper. So often times I will disguise my brush strokes by
painting an unusual shape or I will quickly soften a rather stiff or
harsh brush stroke that is left on the paper. This can be done in two
ways: first, after a brush stroke has been applied indicating a shape
such as a road overlapping a field of grass (as was done in Night
Town), you can soften the dark line of the road by quickly bringing
another brush with just clear water on it to the paper and picking
up the edge at the point where you left off. In Night Town, I

continued painting across the grass with just clear water, allowing
the pigment there to dissipate, and my edge then disappeared.
The second way to soften an edge is to quickly add a touch of
water from the pump spray bottle. Use a few short pumps of spray
emitting a few dots of water. This can change the color, shape, and
edge that the brush mark would leave.
After a hard edge has dried it can still be softened later on by
using a cotton swab soaked in clear water.
(Preparation

LIFTING COLOR PUMP SPRAY BOTTLE

Several techniques can be used to remove dry paint from a A pump spray bottle can be your best friend in creating added
painting, assuming you are working with transparent non-staining shapes and textures, or softening up very hard or harsh brush
colors. First, be sure that the paint on the paper is completely dry strokes. The secret is to control the amount of splatters of water and
before attempting to remove it. You can rub color off with a obviously the placement. Experiment on an old paper bag so that
dampened cosmetic sponge, being sure to constantly clean out the you can quickly see the spray droplets as they hit the paper.
sponge in a fresh bucket of water. Roll the sponge as you wipe so
that you are constantly applying fresh clean water and not smudg-
ing the removed color across the paper.
Another way to remove pigment is to take a single-edge razor
blade and scrape both the paint and the paper away. Similar to this
method is using an electric eraser with an ink eraser point. Again,
these two techniques would remove not only paint, but paper as
well, and are reserved as a last resort.

A softer means of removing pigment is a wet cotton swab

dipped in a clean spot of water and then lightly rubbed across the
painted area. Remember to constantly roll the swab removing paint
with only the clean part.
For more concentrated lifting, use your brush to re-wet the dry
area with clean water then blot with a cloth towel. Select another
portion of the dry towel and rub that re-wetted area firmly. This will
remove color in a very exact or precise spot. You can, if you
choose, re-apply color once the color has been removed from this
area, however, it is advisable to wait until the paper has dried
completely.

TRIGGER SPRAY BOTTLE

A trigger spray bottle can be used to remove paint, to lighten the
tone, or to create the look of sunlight rays. A trigger spray bottle,
however, should only be used on paper that is completely dry.
Hold the bottle very close to the paper and move the spray bottle
in the direction you would like the sunlight to be cast. You can
adjust the stream (practice this on a spare sheet of paper first) to

remove a narrow line of color or a broad large tone depending upon

the setting. Two or three sprays in the same area is all you'll need.
Keep in mind that this technique works only on pigments that
are non-staining, and the paper you are working with should be 1 00
percent rag, since inexpensive paper will deteriorate with too much
pressure from the trigger spray bottle.
 Preparation

TEXTURES preferably one that is water soluble — this will save you a lot of
grief and. . .brushes. Wet Redi-Mask washes out of your brush
with water. Any Redi-Mask that dries in the brush will have to be
remove with lighter fluid or benzine (turpentine).

V^T*^

The idea of creating textures is to give the impression or image of

whatever the object is without reporting exact detail too soon. The
best time to achieve texture is after an area has been painted and the
shine or glare of the wet color has subsided, but before the painted
area has dried completely. While the painted area is still damp or
moist to the touch, begin by introducing either water splattered
from the spray bottle or touches of color splattered from a brush
right over and on top of the painted area. It is important to splatter
enough of either water or color and in varying amounts in different

areas across the paper (see example). Splattering only one or two
STENCIL PAPER
spots will create an undecided look and viewers will wonder
whether this was exactly what you had intended or if you had, in Clear stencil paper can be purchased at any art supply store.
fact, made a mistake. Lacking stencil paper, take three sheets of waxed paper and iron

I used this technique to create texture in the road in Night Town, them together. Use an X-acto knife to cut out a random, irregular
in the rocks in Dry Dock, in the trees in Country Road, in the grass shape (see example). The object of the stencil paper is to prevent
in The Big Sky, and in the distant mountain in Morning Light. This paint splatters from landing on unwanted areas. Do not paint up to

is a fun technique to practice because every time you splatter, the and over the stencil. We cut an irregular shape so that if perchance
result will appear a little different depending upon how wet or dry paint lands on the stencil, it will create an irregular mark on the
the previously painted area was. The more you are able to control paper, not a smooth, clean straight line. Once you have cut half a
the texture, the less detail you will have to add later on. Texturing dozen stencils of different sizes and shapes, you can reuse them
is the only time that I will go back into a painted area that has not time and time again.

completely dried. Most all other times, I will paint an area and let

it dry completely before going back to do any additional refining.

APPLYING REDI-MASK
Redi-Mask, also called liquid Frisket, is a protective coating,
which, when applied to dry paper forms a barrier to subsequent
brush strokes. Remove Redi-Mask at the completion of your paint-
ing and you will have dry areas of white paper to either leave white
or add tone to.

Apply Redi-Mask, using an old natural hair brush, to the areas

to be protected (see example). Be sure to use very delicate touches
otherwise you will have a very primitive-looking painting once the
Redi-Mask has been removed. (See example of tree and shore
edge.) I often use a No. 4 round brush even in covering large areas.

Certain types of Redi-Mask will either stain the paper or won't

protect it as intended. Use a good brand, specified for watercolor, See stencil paper techniques used in chapter 5-7, 9, 1 1, 13.
Preparation

ENLARGING YOUR SKETCH OR PHOTO

We've all come across the perfect photo or sketch at one time or another, that
would make an ideal painting if we could only transfer it to paper. Here is an
easy and successful way to accomplish this. Draw a light graph across the
sketch or photo, then lightly do the same on your watercolor paper.
Once your graph is drawn, all you need to do is compare the sketch to your
painting, square by square, to make your drawing accurate. In each chapter,
I showa line sketch. Use this graph technique to transfer the sketch to your
watercolor paper. You should have 16 spaces or squares in which to recreate
the original sketch.

TECHNIQUE FOR BLENDED

BACKGROUND
Use this technique to tone the paper before you begin.
Or, wait until all has dried (see example). I applied the
Yellow-Red-Blue wash right over the sky and clouds
(which were white at one time) see Big Sky, chapter 3,

and try this when you're finished. (See page 13 for ex-
planation of technique.)
Preparation
 Center of Interest

Center of Interest:

CONTRAST

Center of Interest:

DETAIL
 5l6out Horn Lynch

Tom Lynch knew, in grade school, that he wanted to be an artist. He says he may
not have been the best artist in school but he was the most determined. He sets goals
all the time, decides what it will take to reach a goal, and then pursues it with a
passion. Find an achievement in his life and tucked away somewhere will no doubt
set. Although his achievements are many, he prefers to talk not about
be the goal he
what he has achieved but about what he is going to achieve. His life is a smooth-
running operation — planned, organized, efficient, and always forward looking.
Tom Lynch is a mood painter. He is not interested in details, objects, parts, and pieces. He creates illusions and impressions, and wants
the viewer to react, to fill in the details with imagination.
His works are strikingly different from traditional watercolor paintings. He believes in color (lots of it), contrast, movement, and
expression.
A graduate of the American Academy of Art and the University of Illinois, he began his career as an illustrator and commercial artist.
But after several years, he decided to develop his career in the fine-arts field. As a fine artist, he incorporated his watercolor paintings into
a central theme or series, a collection of ideas that
would tell a story.
An elected member of the prestigious Society of American Impressionists, he has studied privately with some of America's masters of
watercolor. His works are represented in public, private, corporate, and museum collections throughout the country. In 1980, Broken Log,
a Tom Lynch watercolor painting, was awarded first prize among 3,500 entries by the International Society of Artists. The recipient of
numerous other awards, he has over fifty exhibits to his credit.
%tady to Paint

ONCE YOU ARE READY TO PAINT

The remaining pages contain instructions for painting step by step. painting has given me so much satisfaction — both through
Each of the 1 3 chapters is devoted to one of the paintings that was painting and teaching — that I would like to share with you that
seen on my television series "Fun With Watercolor." In these same opportunity for reward and excitement.
paintings I have attempted to express a certain mood, record a I still find myself experimenting, discovering, and learning new
memory, or communicate to you an idea that I had about what I had techniques. The beauty of watercolor is that it is spontaneous and
seen. As you read through the instructions please note that my it will take off on its own at various times. I encourage you to let

intent is not to have you merely copy the paintings but rather this happen. In many situations, for example, River Reflections,
understand the techniques and order of procedures so that you may Big Sky, High Seas, and Breakfast Table, that spontaneity is the key
learn from this book and be able to create your own works of art. part of the painting. Let the painting go. Encourage it with wet
My first approach to learning was to copy the paintings that my color over semi-wet color. Watercolor is, I think, the most expres-
teachers had taught me — a technique used to this day by students sive of all painting mediums. You can quickly transfer your ideas,

who sit in front of museum masterpieces. Be it in the Louvre or in your emotions, your feelings, and enjoy as I do the surprise of what
the local Art Institute, you could learn a lot by doing the same. will happen with color in today's experiment. Keep in mind that

In each chapter, you'll see slight variations in the different this is only a sheet of paper that you are working with and that it is

stages of each painting's development. I chose this process pur- as important to enjoy the process as well as the end product. You
posely to encourage you to give your painting its own character and will soon discover the pleasure and excitement of watercolor
not just follow the exact example. You will see me reference quite painting.

frequently the idea of a color change or the idea of a certain value I have provided you with a variety of subjects in these lessons

and not necessarily the exact placement that you have to follow. — still-lifes, flowers, landscapes, and seascapes. You should be
Take that opportunity to explore and experiment with the guide- able to paint any of your own favorite subjects from here on after.

lines. I urge you to look at each stage and read the associated Do as I have done and work always to elevate the level of your
information before you begin painting. In most cases I have watercolor painting. Challenge yourself to do something better
included detailed illustrations to highlight a certain lesson and each time. Maintain a positive attitude, and share with others your
objective. Concentrate on these and send a visual message to your joys and rewards. I have promised my teachers that I would carry
subconscious. Maintain a very bold, positive attitude. Watercolor on their efforts. You can do the same for me.
 .

The Paintings

TITLES
1. Village Church

2. Red Bucket

3. Big Sky

4. Dry Dock

5. Night Town

6. Rag Dolls

7. Morning Light

8. Fresh Flowers

9. Country Road

10. ///g/i Seas/Calm Seas

11 JK ver Reflections

12. Breakfast Table

13. Snow Shadows

19
<Thi Village, Church
THE VILLAGE CHURCH
Once a month, I travel around the country (and
sometimes the world) teaching workshops. I
have found the most beautiful scenery right
here in the United States. This little scene is in

Vermont, and to this day I envy those who can

look out their windows and enjoy the simple
elegance of Vermont countryside.

You will need. . .

 .

The 'Village Church

STAGE TWO: BEGIWISG YOUR PAISTIXG fence post darker and the tone of the distant fence posts lighter.
Before stage three has completely dried, take the back of > our
brush and scrape through the mountain to push aw ay some color,
indicating the various tree trunks. Variety and accent are the key
« Olds for scraping the trees. To add shadows to the buildings, use
Cobalt Blue with a touch of either Burnt Sienna or Permanent
Magenta and indicate an interesting shape for the shadow under the
roofline. Block in the large shadow side of the church.

After die Redi-Mask has completely dried, wet the paper or spray
it with water from your spray bottle and wipe it lighdy with a tissue
to pick up some of the excess water. Take a nice, rich Ultra Blue
with a touch of Cobalt Blue and paint some streaks across the sky
as though it was a stratus layer of clouds. If your brush strokes are
expanding two and three fold, wait a minute longer for some of the
soak into the paper. You should be painting on a damp
sheet of paper and not on top of a puddle of water.
After you have introduced some tone in the sky. continue across
the mountain and add some shades of blue for w hat later on max

be patches of ng on the mountainside. Continue

through to the foreground but take note of the example first for the
shadows across the foreground. Notice the varying sizes and
angles they have. These large, simple but interesting shapes are all STAGE FOUR: FIMSHISG TOUCHES
the viewer will have to enjoy in the foreground. So be sure and For the finishing touches, start with the detail of the people entering
stress the variety of design in both the dark shadows and the spaces the church. Note that for the close-up images I did not paint detail
\>~hen you have completed the blue shadows, mix a blend of but rather indicated a mass of color changes with the simple shape
Burnt Sienna. Permanent Magenta and Cobalt Blue. Make this of a head, torso, and legs, with an occasional arm extending
mixture considerably thicker than whai you used for the sky Paint, .
outward. Note also that I did not paint all of the figures standing at
with interesting brush strokes, a simple silhouette of the distant attention, but indicated some action in the form of leaning and
mountain, varying the colors and the consistency (thickness walking. Before adding any further refinements to the figures,
Again, look for the soft edges but not a tripling in size of the brush w ork on other elements of the painting such as the church win-
stroke. Dry out your brush with a touch on the sponge, and lighdy dows. fence wire, rooftops, and tree trunks.
indicate some of the foreground grass peering through the snow. Suggest a change betw een the rooftops and the sides of the
buddings. You can see from the example that in some cases I made
the roof a brown but used a real rough brush stroke to show the
existence of some snow on top of the roof or I made the flat side of
STAGE THREE: the building to the right of the church brown and left the roof w hite.
Variety is important here.
SILHOUETTE THE DISTANT TREE LISE In this last stage, you may decide to darken, once again, the very
i Be sure that stage tw o is completely dry before proceeding. |
distant mountain. For this. I used just a Cobalt Blue mixture, w hich
The distant tree line is a vital part of this paisting since it helped highlight the church steeple and also imparted a stronger
indicates the shapes of the buildings and establishes the horizon feeling of distance to the painting.
line of the painting. Your paint mixture will be a combination of Once all painted areas have dried, remove the Redi-Mask from
Ultra Blue. Burnt Sienna and Permanent Magenta. Vary the colors the top of the steeple either with your fingers or with a rubber-
asyou paint across the tree and add touches of water from the spray cement pick up. scraping until the Redi-Mask rubs away. Paint
bonle to the top of the tree line, softening the edge and creating the only the shadow side with a darker Cobalt and Ultra Blue tone then .

lacy look of leaves. Carefully outline the rooftops and the church accent the church bell with a mixture of Paynes Gray and Perma-
silhouette with this strong dark. Use the same mixture to paint the nent Magenta. Keep this painting simple and elegant, allowing the
foreground fence posts. Be sure and make the tone of the closest viewer's imagination to finish the detaUs.
!

:•
"The "Red bucket

RED BUCKET

You will have a lot of fun with this painting

because it is almost impossible to make any
mistakes. The first layer is the best part
because you can go wild with color and
variety. In fact, you will even learn a lesson
or two about color without having to do
color charts. The more colorful and loose
you make this painting, the more exciting
and rustic it is going to appear. You will find NOTE: PREPARATION
that painting a subject in this fashion will You 11 need a sheet of 40-pound, cold-pressed 1 00 percent rag watercolor paper that has
1

even put you in a good mood. So let's get been previously soaked for half an hour, stretched, and dried. Roughly sketch the outline
started. of the structure inside the barn. Keep the details to a minimum.
Before you begin painting, apply the Redi-Mask to some of the highlighted areas of
You will need. . . the hay stack. Use thin lines; put about 10 or 20 lines together in some areas, five or six

Brushes: in other spots, and a few random lines in still other parts (see example). Also block out
the red bucket and the edge of the post that the bucket is hanging on. We'll paint them
1-inch flat wash brush
later. Clean your brush quickly; use lighter fluid to remove any Redi-Mask that has dried
1/2-inch flat wash brush
on it.
No. 5 round brush
An old, round natural hair brush,
(to apply Redi-Mask)

Watercolor Paints:

Burnt Sienna
Practice Subject... this painting was
Cerulean Blue
same techniques only a
painted with the
Cobalt Blue
more complex. When you're ready
little
Lemon Yellow
for the challenge "go for it" and
Paynes Gray
emphasize the value gradation in the road.
Permanent Magenta
Speedball Red
Ultra Blue
Yellow Ochre

Other Supplies:
Redi-Mask
Pump spray bottle
Trigger spray bottle
Tissues
Rubber-cement pick up

24
"The %ed "Bucket
STAGE ONE: BEGINNING take the back of your brush and scrape away some of the ropes and
cords (see example). Keep your brush strokes moving randomly;
apply lots of paint and water so that all of these dark tones will
softly blend in with each other.

Once the Redi-Mask has completely dried, stand up and have a ball
applying a colorful wash across the entire painting. You can splash
paint, brush the paint on, or almost lift the palette and pour paint
across the painting if you want to. The main objective is to capture
a bright, fresh, light area of color around the bucket, which will
STAGE THREE: ADDING DIMENSION
indicate the haystack. Then, gradually, as your eye moves away (Be sure painting is completely dry before proceeding to stage
from that portion of highlight, the colors should become darker and three.)
cooler. The secret of this is starting in one section. Start with the You may decide to add another layer of darker color in the
yellow then just gradually move across the painting in all direc- background to capture a three-dimensional effect. This is mostly
tions. You don't want to start in four or five different parts hoping Paynes Gray, Ultra Blue, and a touch of either Permanent Magenta
that they will join together later on. Note in the example that there or Burnt Sienna. Here I indicated some 1-inch boards and some
is a smooth gradual blending of the colors as they make a transition 1/2-inch boards and then some large, simple dark shapes in the
from a yellow tone to a brown tone to a violet tone into the blue shadows thus adding a layer of depth and dimension to the
tones. You can't make a mistake because any textures or any painting.
blossoms that happen are very natural for the inside of an old Once this dries, mix up a large puddle of light wash using Cobalt
weathered barn. The exact placement of color doesn't have to be Blue and Permanent Magenta with a touch of Burnt Sienna, for
as you see it in the example. You can use more or less cool tones, your shadow colors. As long as the entire painting is dry, you can
or whatever colors you feel comfortable with. You're in charge. take these shadow tones and paint over the light boards as well as
The only thing that I suggest is to keep the colors bright, wet, and the middle and dark backgrounds. You can paint very loosely, very
colorful as you apply them — going from a lighter color, as I quickly with large brush strokes. You don't have to stay within the
mentioned, close to the bucket, gradually darker farther away. lines. Vary theshadow colors and values. I use the same shadow
After you have painted all of this area you can go back and take the mixture for the shadow on the haystack but not quite as dark as
back of your brush and scrape in some added highlights suggesting what I used across the boards. Try a mixture of Cerulean Blue and
therandom scattered hay across the inside of the barn. If the colors Speedball Red with a touch of Yellow Ochre in places. Keep in
you have applied have gotten too dark you can always take a tissue mind that you are creating an interesting pattern of shadows and it

and blot them when they are still wet, or take a trigger spray bottle doesn't have to conform to the example you see.
and spray off some of the color to lighten some of the tone, before
you go on to stage two.

STAGE TWO: DEFINING

THE FOREGROUND
(The painted areas must be completely dry before proceeding. You
can check with the back of your hand to make sure it is dry.)
For stage two, mix up a dark selection of colors using your Ultra
Blue, Permanent Magenta, Burnt Sienna, and Paynes Gray. See the
color chart to achieve a variety of dark colors from these mixtures.
Now take this very dark mixture on your 1 -inch flat brush and start

painting around the structure of the barn and the haystack. You
may need to use the 1/2-inch flat brush to outline the shape of the
barn's boards and the roof's rafters. Before this completely dries,

26
-J t-H CO

2 x>
<Tfie<BigSki)

BIG SKY
Just get it started and this painting will nearly
paint Use a big brush, spray bottle and
itself.

plenty of water, and you will be able to capture

that fresh billowing effect of clouds. Let your-
self and the painting go.

You will need. . .

Brushes:

1-inch flat brush

1/2-inch flat brush
No. 5 fine point round brush

Watercolor Paints: Other Supplies:

Burnt Sienna Pump spray bottle
Cerulean Blue Cosmetic sponge
Cobalt Blue Cotton swabs
Lemon Yellow
Paynes Gray
Permanent Magenta
Speedball Red NOTE: PREPARATION
Speedball Yellow Use a sheet of 1 40-pound, cold-pressed 1 00 percent rag watercolor paper that has been
Ultra Blue previously soaked for half an hour, stretched, and dried. Lightly sketch the form of the
Yellow Ochre house, the tree line, the mountain, and the road. With an even lighter touch, suggest the
large simple shapes of the clouds. Do not be concerned with detail or shading in the
clouds because the forms will follow their own shape when you apply the spray.

STAGE ONE: LARGE BILLOWING SKY

Lay the board on an angle, approximately 3-inches at the top end. into the area where you have painted and let the water continue the
Mix up a very large puddle of Ultra Blue, with maybe just a touch flow of the paint into the cloud. Be sure and hold your spray bottle
of yellow or just a touch of Permanent Magenta. Once you have close enough to control the placement of the spray. In some cases
enough premixed paint to cover the entire sky area, load up the it will soften the edge: in other cases it will create a very interesting

brush. Make sure you have color on both sides by pressing the shape, and in still other spots it will create a lighter value. Continue
brush into the palette. Starting at the upper left hand corner, push, painting the sky around the white cloud, stopping every four inches
pull, turn, and twist the brush as it begins to silhouette the white to spray the edge with a touch of water from the pump spray bottle.
cloud. Paint only four inches at a time before stopping to add some Be sure to vary the amount of spray as you continue — in some
gentle touches of water from your pump spray bottle. places don't spray at all and in other places spray a little more.
Add the water at the edge of the area you have painted — not What you do with the spray bottle will determine the varied look
along the edge of the cloud.
Continue painting and, as you move closer to the horizon line,

add additional water to the brush strokes so that the color begins to

lighten. This way. the top of the sky will be dark and the sky that

is closer to the horizon line will be lighter, giving the impression

of depth. Remember, large simple billowing shapes are the key and
don't worry about water blossom marks; we'll correct them later.

Paint your sky all the way down to the horizon line, right past the

mountain and the trees, which will be painted in later.

Next, while the sky is drying, paint the foreground. Starting

with a light yellow-green tone at the base of the church, (Speedball
Yellow and Cerulean Blue), gradually add darker colors such as

Paynes Gray and Ultra Blue to your yellow so that the foreground
grass is darker. And, before this dries, add touches of water. Here
you can paint an area larger than 4 inches before stopping and
hitting it with a spray bottle. Use a flat brush for the foreground, so
you can cover a large territory quickly and easily. Wait for the shine

28
n.

29
c
Ifie'BigSky

to go away and then add some dots with the spray bottle. Again, into the color of the grass in the field. This will eliminate a hard

vary the amount of spray in different places so that you can vary the edge line between the two areas as well. Again, try to maintain a

blossom and the texture of the look of grass. variety of color, and, most important, a variety of value; as the road

Use Yellow Ochre, Burnt

a round brush and a mixture of moves closer, the color becomes darker.
Sienna, and Permanent Magenta to paint the foreground on the Once the sky is dry, you may find that there are some blossoms
lower right and the rows of the plowed field. Push the brush hard that are distracting because of their shape or contrast. Take a cotton

to the paper in some places and let the brush just skim across the swab dipped into a bucket of clear water and lightly erase the shape
paper in others. This uneven motion will give a thick and thin look of the blossom. Or, if you would like to have more soft edges in the
to the plowed field. Keep in mind that the distant areas should be clouds this is the time that you can come back, and, with a clean
lighter than the foreground areas. Give a couple of touches from the cotton swab, you can soften or lighten the dry edge. As you will be
spray bottle, wait a little while, and come back and add some other removing paint, remember to constantly roll the cotton swab and
touches to create the blossoms and the texture. always have a clean part of the swab touching the painting.

STAGE TWO: MOUNTAIN AND ROAD STAGE THREE: SILHOUETTING & DEFINING
(Let all painted areas dry before proceeding.) In this stage, we will define the shape of the trees and silhouette the
For the mountain, we will use the same technique we used for shape of the church and buildings. Mix up a selection of colors that
the clouds — painting in increments of about 4 inches then adding suggest the trees. Paynes Gray, and Cobalt Blue are good choices.
touches of water from the spray bottle. Mix up a puddle of colors Next, dip your cosmetic sponge into this puddle and then transfer
using touches of yellow and blue. To the side of that puddle, mix the colors by dabbing the sponge on the paper. Vary the dabbing
a separate puddle of Cobalt Blue, Permanent Magenta and Burnt pressure to give the trees variety of texture and definition.
Sienna. Finally, mix up a nice gray tone. Be sure to go back for fresh pigment often, and leave a variety
Start on the right side and vary these colors as you paint the of color, with the tops of the trees being a lighter yellow and the
mountain. The variety of colors will make the mountain come bottoms of the trees being a darker gray and Cobalt Blue. As
alive. As with the clouds, use your large flat brush, and, in a before, it is important to start at one area and gradually move across
scraping fashion, come across the mountain top stopping after the page. You'll probably want a lighter value at the far right side
about 4 inches to add a touch of spray to the top edge. Then of the painting, so use the Cobalt Blue and Lemon Yellow for those
continue working from one side gradually across to the other. spots. The exact color is not important. Just remember the one rule
(Don't paint separate parts disconnected from one another.) for dimension: trees farther away get painted in lighter tones;
When you have finished painting the mountain, and once the closer trees should be in darker tones.
shine has subsided (but while the color is still damp), add a few You may need to use a round paint brush to define the shape of
touches of water into the painted area to suggest the silhouette of the buildings in front of the darker trees. A mixture of Yellow
trees. In this case it is all right to spray into the area you've already Ochre, Burnt Sienna, and Permanent Magenta works well for the
painted to achieve texture; whereas with the clouds and mountain buildings. Add a touch of Ultra Blue for the fence along the road.
line, we sprayed only the edges to produce a soft, flowing effect. Find a fresh group of colors and an interesting brush stroke. Avoid
Next, we'll tackle the road. The important thing to keep in mind giving the house an architectural look, which would detract from
here is to create a lighter value farther away and a darker value the soft, natural look the painting has now.
close in. I chose a light blue violet tone for this, however, you can
make the road any color you want. Where the road overlaps the
grass, take another brush dipped in clear water and paint the
overlapping areas so that the road color will gradually disappear

30
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 .

The (Dry <Doct

DRY DOCK

In this painting, I take a rather plain subject

— two boats sitting in the dry dock — and
transform it into a glowing seascape, by
highlighting the area across the front of one
of the boats. The scene was originally cap-
tured on a sunny, summer afternoon in NOTE: PREPARATION
Monterey, California. You can take any Take a sheet of 1 40-pound, cold-pressed 1 00 percent rag watercolor paper that has been
plain subject and let this be your guide as to previously soaked for half an hour, stretched, and dried, and sketch or trace the shapes
how to capture a glow upon it or make of the fishing boats, the dock, and the pier.
something exciting appear in front of you.

You will need. .

STAGE ONE:
Brushes:
TONING THE PAPER
1-inch flat brush In this stage, you want to add a glow or a highlight to a section of the paper before you

1/2-inch flat brush begin painting any of the objects. First, use the spray bottle or a large brush to re-wet the

No. 5 round brush entire sheet of watercolor paper. Next, either spray color from a small spray bottle or use

2-inch large wash brush a 2-inch brush and a mixture of Cobalt Blue, to paint a gradation, leaving white paper
at the front of the boat and gradually darker tones of Cobalt Blue going to all four edges

Watercolor Paints: of the paper. This will capture a glow of light in the part of the paper that will be the front
of the boat. Let the paper dry before going on to stage two.
Burnt Sienna
Cerulean Blue
Cobalt Blue
Lemon Yellow
Paynes Gray
Permanent Magenta
Speedball Red
Ultra Blue
Yellow Ochre

Other Supplies:
Pump spray bottle
Tissues

32
33
The (Dry <Docfi
STAGE TWO: STAGE THREE: DEFINING SHAPES
BLOCKING IN SHAPES AND SHADOWS
The second stage is designed to block in the shapes and shadows
on the two boats. For the background trees, use a combination of
greens mixed from Lemon Yellow, Paynes Gray, Ultra Blue, Burnt
Sienna and Cobalt Blue. Varying the mixture affords a nice variety
of colors as you paint across the top of the tree line, using the pump
spray bottle to soften the edge and create an interesting shape. Paint
right through what will be an indication of buildings and the wharf
later on. Apply just one continuous flow of medium-dark tone to
both sides of the tug boats.

(Be sure the painting is completely dry before proceeding.)

You can now begin to define the shapes of the boats. Introduce
a very dark tone under the boats, indicating the dock. Start adding
blocks of color to the different parts of the boat; do the mast with
Yellow Ochre; the pilot house gets Lemon Yellow with a gradation
into the darker Yellow Ochre; and, below the water line of the boat,
use a Speedball Red, gradually adding a tone of Burnt Sienna and
Permanent Magenta as you recede to the back of the boat.
For the tug boat to the left, use mostly Burnt Sienna and
Permanent Magenta to shade in the doorway, the area below the
water line of the boat, and some of the structure that was on the roof.
For the foreground, you should start with a mixture of Yellow While this dries, mix up a darker shadow tone of Ultra Blue with
Ochre, and Burnt Sienna gradually adding less Yellow Ochre and a touch of Permanent Magenta to further accent the shadows inside
more Burnt Sienna, Permanent Magenta, and Cobalt Blue as you the windows and under the roof. Be conscious of not painting
paint the foreground rocks. Before this area dries completely, add simple square shapes, which would cause monotony in the viewer's
touches of water from the spray bottle, and a splatter of Cerulean imagination. (See page 6 for shapes.) It is better to use thick and
Blue paint right over the damp area. Do not indicate individual thin lines, a variety of angles and brush strokes to suggest the inner
shapes of rocks or fence posts but rather a graded wash going from structure of the pilot house. This is a good example of how form
lighter closer to the boats to darker closer to the foreground. Once and shape define the painting better than detail. You could even
again, splatter with water or color (I chose blue to match the sky) consider this the final stage and let the viewer enjoy the shapes and
to capture some texture; this will make the job of defining detail forms you have produced. Those who like a more detailed rendi-
less laborious later. tion of the subject can move on to stage four.
As for the shadows on the boat, use a middle gray (see page 8
for mixing grays), mixed from Cobalt Blue and Permanent Ma-
genta with a touch of Burnt Sienna. The shadows shouldn't be so
STAGE FOUR: ADDING DETAIL
dark that they develop interesting patterns of their own, but should
have a few soft edges to show the rounded contour of the middle (Be sure all paint is completely dry before proceeding.)

part of the boat. Keep in mind that the shadows will show the form The first and main concern for this final stage is to, once again,
or contour of the boat as well as make interesting shapes to
highlight the front of the boat. You can achieve this by taking
harmonize with the interesting shapes of the boat another Cobalt Blue wash to the first layer and darkening the sky
structure.
When painting shadows use a very wet mixture both in my
I
around the front of the large tug boat. Keep another brush in hand
palette and on my brush. This way may design or add to a shadow
I
with just clear water in it to soften the edge from this dark halo. The
shape, and my additions will softly blend in with what has already object is to create an extra amount of contrast between the light on

been painted. the boat and the darker sky. You may also choose to paint a night

sky as I Town, chapter 5.

did in Night
Begin the detail work using a No. 5 round brush. Start at the
front of the large tug boat, again keeping in mind that this area is
the most important part of the painting and refinements should be
more complex here than anywhere else. Add a few lines, ropes,
rigging, and boards, and highlight, once again, the shadow side of

34
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1?te yfjgfit ^ozon i

NIGHT TOWN
I came upon this scene after wandering about in
Northern Wisconsin where I was teaching a
workshop. I wasn't expecting to find a subject to
paint, but there was and fortunately my sketch-
it

book and my camera were there to record It's it.

a great combination of all the skills we have NOTE: PREPARATION

learned and it only takes a little more boldness to
In the TV series, I only had enough time to show how 1/2 of this painting was com-
transfer it into a night scene.
pleted. Now you can have the benefit of a more complex subject. If this is still new to
you, you may elect to try only the right 1/2 of the painting first.
You will need. . .

Use a sheet of 140-pound, cold-pressed 100 percent rag watercolor paper that has
Brushes: Watercolor Paints: been previously soaked for half an hour, stretched, and dried. Sketch a simple drawing
1 -inch flat brush Burnt Sienna of the clouds, outlines of the buildings, the road, tree trunks, and light posts. Remember
1/2-inch flat brush Cerulean Blue to keep the shapes simple and to not be concerned about all of the details just yet. You

No. 5 round brush Cobalt Blue can always draw more later on.

2-inch flat brush Paynes Gray

Permanent Magenta
Other Supplies: Speedball Red
Speedball Yellow
Stencil paper
Ultra Blue
Pump spray bottle
Yellow Ochre
Salt
Tissues
Cotton Swabs

STAGE ONE:
THE SKY AND THE FOREGROUND ROAD
This stage is painted very similar to the first stage of Big Sky. Start
by mixing up a large puddle of Cobalt and Ultra Blues. Then,
painting in 4-inch increments, silhouette the white cloud, adding
touches of water from your spray bottle. Vary the amounts of spray
and the intervals between the spray. (Refer to page 10.) colors. Use lighter values for the road that is farther away (Cobalt
Add the dark shadow side of the cloud using a mixture of Paynes Blue with a touch of Permanent Magenta or Speedball Yellow) and
Gray and Yellow Ochre. Here you must strive to achieve a variety darker values moving closer (add Ultra Blue, Paynes Gray and
of soft edges and interesting shapes combined with a change in Permanent Magenta).
value created mostly through the pump spray bottle. When the shine of the foreground road has subsided but while
Paint the top of the sky with a very dark value gradually moving the paint is still damp or cool to the touch, come back with your
down to a lighter color — Cobalt Blue and water works well for spray bottle and introduce touches of water and a sprinkling of salt,
this. The more water and paint you have in your brush when you into what you have painted some Yellow Ochre; see
(or splatter
are painting this segment, the more time you need to allow for the page 1 1 Whereas the spray bottle touches
for creating texture).
spray bottle to take effect. were used only at the edge of where you painted in the sky, here you
While the sky is drying, you can paint the road, using similar are letting the spray bottle create some textures "in" the road.

36
37
TTte 'Night H^oum

STAGE TWO: BLOCKING IN DISTANT TREES with following exactly the placement and color that I have applied,

AND FIELD OF GRASS but rather use the freedom to decide which colors and shapes would
work best for your particular painting. Watercolor painting has no
(Be sure that the first stage of the painting is completely dry.)
set methods; it is very creative, so I don't want you to hold back
This is where your stencil paper comes into play. It will be used
from painting in your own way.
to protect the foreground and sky so you can be very loose in
Let the painting from the previous stage dry completely. Cut out
splashing and splattering the color of the trees. (See page 9 for tree
splatter technique.) Start with one area — the left, the right, or the
a stencil the shape of the light trees and use it to protect the light

middle — and then gradually move across to the rest of the

area while you paint the dark, distant forest. At this point, you are
just defining the large simple shapes; don't worry about adding
painting. Do not make the mistake of beginning and leaving off in
exact detail yet (and don t paint over the stencil). See page 1 1 for
different areas, hoping that these areas will connect; they won't.
stencil techniques.
At the upper edge of the trees, be sure and do a lot more
Next, indicate the color of the roof tops and, at the same time,
splattering than actual brush painting, and create a variety of color
indicate the shadow side of the building using a slightly darker
and interesting shapes for these trees. We ' 11 worry later about darks
mixture of the same colors. This is referred to as "blocking in" or
and the lights within the trees. For now it's just a colorful, fresh
defining large, simple shapes with a contrast in value. The more
wash of color across the background, with a touch of the spray
color you apply, the less detail and refining you will have to do in
bottle here and there.
the next stage. Again, let your spray bottle be your friend; it can add
Before the tree colors have dried, you can throw some table
little touches or blossoms indicating leaves, gravel on the road,
salt, in varying amounts, across the tree area. Each grain of salt
grass in the field, or soft edges in the sky. Avoid geometric shapes
will absorb up to 3 times its size, so don't apply too much. Notice
(circles, squares, triangles) or straight lines.
the light spots on the sample painting — they
you where the will tell
varying amounts of salt were applied. Lacking table salt, you may
add a touch of water from your spray bottle after the shine of the STAGE FOUR: ADDING DETAIL
first wash of the trees has gone away but while the pigment is still
You are now ready to define the shapes by adding some detail.
damp (similar to the procedure you used on the foreground road).
Once the painting is dry, you can start adding or blocking in some
Once you have completed you can
the texturing of the trees,
of the windows and doors, shadows from the trees, the tree trunks,
move on to the foreground grass. Remember that dark tones pull
etc. Hold your mat up around the painting every so often to be sure
the eye closer and light tones appear farther away. Vary the colors
that you don't apply more detail than is actually needed.
from light yellows and light blues mixed together for a light green
To recapture the shape of the tree trunk against the dark
in the distance to light yellow and Paynes Gray for a deeper green
background forest, it may be necessary to remove some color.
in the foreground. (See page 8 for mixing greens.) Also, apply a
Keep in mind the interesting shapes. Apply more contrast to the
colorful wash of the blue colors across the garage building on the
areas you paint near the center of interest and less elsewhere. Add
right but make sure all of the areas are dry around the garage before
a darker tone to the shadow side of the trees. Mix a darker tone of
you paint it. A slight variety of colors and a slight change of value
the color you have for your trees, then add a touch of Cobalt Blue
will eliminate the need for a lot of detail later on.
Change this shadow color where the color of the trees
to this color.
changes. Use your finger or brush to soften the edge in the shadow
STAGE THREE: DEFINING THE SHAPES (sparingly). A lost and found edge in the shadow will give the
painting a more natural look.
You may now choose to add dark trees in front of the light trees,
or you could put dark trees or a mountain behind these lighter tree
shapes as you see in the example. Again, don't concern yourself

38
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39
The %ag "Dolls

RAG DOLLS
It is fun to walk around the house and find something to paint. On
this particular wandered into my daughter's room and
occasion I

there was her Raggedy Ann doll and Cabbage Patch doll sitting
there by a window almost asking to be painted. I couldn't deny
them the opportunity. So, I grabbed my camera and my sketch
book, took a picture and made a quick sketch, and I was ready to

have some fun.

You will need. . .

Brushes: Other Supplies:

1-inch flat brush Pump spray bottle

1/2-inch flat brush Trigger spray bottle
No. 5 round brush An old lace doily or tablecloth
Cotton swabs
Watercolor Paints: Stencil paper

Burnt Sienna Hair dryer

Cerulean Blue
Cobalt Blue
Lemon Yellow
Paynes Gray
Permanent Magenta
Speedball Red
Speedball Yellow
Ultra Blue
Yellow Ochre

STAGE ONE: BLOCKING IN THE PARTS

 > '—.,<<> -^r r
p^

17
F
\ <B 1*

When painting the face of the doll, start with a dark tone on one then let the color for the face be one fresh colorful wash that is

side of the eye, nose, and mouth, then quickly change to a lighter lighter on one side (Yellow Ochre, Speedball Yellow) and gradu-
tone to finish these features. ally darker on the other (Yellow Ochre, Burnt Sienna, Permanent
For the Cabbage Patch same fashion, working
doll, start in the Magenta). Let the color of the face move right into the dress but

with the hair first (Burnt Sienna, Permanent Magenta, Ultra Blue). notice the variety of yellow colors that are there different yellows,
Don't worry about staying inside the lines, as you will darken the touches of Ochre, even an accent of a Cerulean Blue here and there.
background later on. Just go boldly with the color for the hair and
T/te %ag "Dolts

STAGE TWO:
SILHOUETTE THE DOLLS
(Be sure stage one is completely dry before proceeding.)
At this point review what you have painted. If you would like
to lighten a section, take the trigger spray bottle and spray very
closely right over the dry pigment to lift off some of the color. Blot
everything with a towel and dry everything once again with the hair
dryer before proceeding.
The next step is to silhouette the dolls. Mix a varied color of
Paynes Gray, Ultra Blue and touches of yellow if you want.
Silhouette the shape of the dolls, keeping the colors very wet so that
they will blend with each other. Use the flat brush in large areas and
the round brush in tighter areas, such as around the hair of the Rag
Doll. Create an interesting shape around the hair of the dolls. Move
quickly, always working with a wet brush.
Once all has dried, apply a light, almost abstract wash for the
window, and use the same color for beneath the table and beneath
the legs of the dolls.

STAGE THREE: SHADOWS

(Be sure painting is dry before going on to stage three.)
Before you indicate any of the shapes, come across
with the shadows. Use a flat 1 -inch large brush loaded with a wash
of mostly Cobalt Blue with an accent of Permanent Magenta.
Create some loose, simple shapes across the face and dress of the
dolls. Keep your 1/2-inch flat brush handy, loaded with clean water
so every now and then right after you have applied the shadow you ,

can come back and add a clean touch of water to soften the edge.
This will give your painting a very natural look of soft and hard
edges, as well as a strong emphasis for shadow across the rag dolls.
The shadow is a great way to unify different parts and different
objects. It also has the added effect of creating something interest-

ing to look at besides the object of the painting.

STAGE FOUR: THE LACE AND DETAIL

(Be sure all paint is dry before proceeding.)
A fun, new technique I have found is to take an old lace
tablecloth, lay down, and then take a spray bottle filled with paint
it

and water, and spray the paint right over the lace. The color will
land only where there are holes or openings in the lace and you will
have a nice interesting pattern. Put a stencil over the feet to protect
them from the spray. You can use a light color, over the dark back-
ground, as I did, behind the Rag Dolls, by spraying just yellow
through the lace. Have fun with this; it can be a great background
for future paintings or just the accent of lace to still-lifes.
A few final refinements include the bow and the pattern on the
dresses, the eyes, nose, and parts of the hair. You can show the

42
 Note the varied
edges and tones
used to sharpen
and subdue the
area of lace,
ribbon and hair,
in the outlined

-Stae

contour of the dress by painting a curving shadow line as I did on expressive mood. Again, keep the details of the Rag Dolls to a

theCabbage doll' s knee and shoulder. Remember that you are only minimum and just have fun.

accenting and not reporting the exact detail that you see. Just give If your detail gets carried away, you can redo the shadows once
the suggestion of lace or the suggestion of an eye or an eye brow. again. Let the painting completely dry and paint the shadow parts

Keep it simple. I have actually gone farther than I needed to in my once more to soften some of the detail. This is a nice way to

painting. You needn't paint both eyes, or paint all of the mouth; you simplify a busy painting: redo the shadows two or three times and
can let part of it disappear in the shadows, letting the painting it starts softening up hard edges, and lets parts disappear into the

become less of a factual reporting of the object and more a very imagination of the viewer.

43
T/ie Morning Light
MORNING LIGHT
Early sunrise and just before sunset are my
favorite times of the day. It is at these hours
that you'll see nature's most dramatic effects
with light and with shadow. It is worth getting
up early to see a daybreak as beautiful as the
scene in Morning Light. This painting has a
great ending that really dramatizes the effect
of the sunlight.

You will need.

'*
*&
. .

Brushes:
1 wash brush
-inch flat
1/2-inch flat wash brush
£W
No. 5 round brush
No. 6 fine point rigger brush
2-inch large wash brush
An old, natural hair brush

(for applying Redi-Mask)

NOTE: PREPARATION
Watercolor Paints:
Use a sheet of 140-pound, cold-pressed 100 percent rag watercolor paper that has been
Burnt Sienna
previously soaked for half an hour, stretched, and dried. Lightly sketch the horizon line,
Cerulean Blue
the mountain line, and the hill strewn with rocks. Don't spend too much time drawing
Cobalt Blue
in detail for the trees; just suggest the trunks of the trees if anything.
Lemon Yellow
Paynes Gray
Permanent Magenta
Speedball Red STAGE ONE:
Ultra Blue
Yellow Ochre ADDING WASHES
To begin, mix up some light yellow colors, some light reds, and some light blue violets.
Other Supplies:
Lightly splatter dots of water randomly across the sky. Don't spray the entire paper; just
Pump spray bottle
give it a light pattern of dots; about 20 or 30 percent of the paper should have some dots
Redi-Mask
on it. Take a round brush and quickly introduce the lighter yellow tones of the clouds.
Stencil paper
Create both thick and thin cloud shapes, lifting the brush for the thin edges and press-
ing hard for the bold, thicker parts. Clean out your brush and pick up some of the reddish
tones, which you will add above the yellows to some of the billowing warm upper edge
of the cloud. Leave some white space.
Repeat this starting where the sun is rising,

and gradually moving up the paper and farther

away. Every so often, add an additional touch
of water from your pump spray bottle to
lighten the value and create an interesting
edge. As you move farther away, use less

yellows and more reds — you can even intro-

duce some Cobalt Blue. Just leave a few lacey

edges of white paper dry.
While the clouds are drying, apply Redi-
Mask to the foreground areas. Mask a few
highlight sections of light on the snow.
Once the Redi-Mask has dried completely,
prepare the foreground section by adding a
light wash of Cerulean Blue with a touch of
Cobalt Blue for the distant part of the snow.
Add gradually darker blues, Cobalt and Ultra
Blue as you move to the foreground.
45
 '21'ic Morning Liqht
sTAGE TWO: D1STAST \10l \TAI\ STAGE THREE: THE TREES

;re >:^;e one :> ;o~p'.e:e'.> dn before proceeding. iBe sure all areas are dry before proceeding.)
Stan with the sunlight area again. Experiment on your palette Remove Redi-Mask from the foreground sections. Cut out sten-
with yellows, reds, dark violets and greens. Introduce these colors cils to protect the areas of the paper that you don*t want foliage to
in their respective areas on the painting. Paint only a small section cover, and put a towel covering the foreground. Remember, don't
about four inches — then stop and add some touches of w ater from paint on the stencil just 1/4-inch away. Mix up a nice, rich variety
your spray bottle. Spray mostly at the upper edge of the mountain. of oak leaf colors (Burnt Sienna. Permanent Magenta, and Yellow
This will actually pull some of the paint, producing the image of a Ochre) and start splattering in the trees. Splatter a 4-inch section,
tree at the edge of the mountain. Move from the center, where the then take your spray bottle and add some dots of water. The spray
sunlight is out to both edges simultaneously. bottle will help produce the lacey edge. As you move from the area
You jumping from area to area but rather you are ex-
are not of sunlight to the outer edges, start adding cooler colors such as
panding both left and right. Use a variety of color.
that center area Ultra Blue. Permanent Magenta, and Burnt Sienna, so that the
and accents of w ater from the spray botde: introduce a splatter of outer oak leaves will be darker in tone to the inner edges. Again.
paint if you are in the mood. In the example you see here, most of use a variety of color, shapes, and splatters.
that mottling of color was achieved by the spray bottle and For the foreground, first dry out your brush by touching it on the
occasional splatter of paint. sponge. Next use the heel or side of the brush to scrape upw ard —
When you first apply a tone, it appears as a smooth w ash of capturing the look of the grass. Long. thin, scraping brush marks
color. Use plenty of paint because the w ater from the spray bottle from the base of the w eed to the upper portion will produce the
will lighten the value. Let this area dry completely before you go effect that you see in the example. Even now and then take the
on to do the rocks —
which will require double-loading the brush. back of your brush and scrape over w hat you have painted. Finally.
On one side of the brush, pick up Burnt Sienna, and, on the other add a few accents from the long haired, pointed rigger brush. Just
side, pick up Permanent Magenta and Cobalt Blue. The stones are after you've painted the foliage, indicate the tree trunks. This way

painted with one brush stroke. Keep in mind that the rocks and the color of the leaves, and trunks will blend together. Important
'.-
•: : r.e- y. ire firv.e: - _;• ;e: piir/eo •• ::h "he o.ghier ' alue. and elements for the tree trunks are varied colors, varied sizes, angles,
the rocks and stones up get painted with the darker
that are close and clusters. Having thick branches and thin branches, plus the
value. Van the sizes and shapes and clusters of the rocks so they different placement of the branches creates an interesting pattern
will be more interesting to look at and not mechanically placed. to look at. Have fun: be creative, and use a variety of value and
On one side of the brush, pick up Burnt Sienna, and. on the other color. This rule applies to painting of leaves and trees for all

side, pick up Permanent Magenta and Cobalt Blue. The stones are seasons. Let the colors flow back and forth into one another. A
painted with one brush stroke. Keep in mind that the rocks and touch of spray bottle to both the leaves and tree trunks will give a
stones thai are farther aw ay get painted with the lighter value, and more natural look to the finished painting.
the rocks and stones up get painted with the darker
that are close For the shadows, use the 1-inch or 2-inch brush to mix up a
value. Vary the sizes and shapes and clusters of the rocks so they rather large puddle of Ultra Blue. Cobalt Blue, and a touch of
will be more interesting to look at and not mechanically placed. See Permanent Magenta. Work away from the sunlight, starting with
7 age 7, double loading the brush, for detail on painting rocks. the base of the trees, the rocks, or the scrub grass. Nice rolling
shapes will show that the ground has some contour. Leave some
sections with only a few shadows, and go wild in other sections.

Again, variety is the key w ord to creating art. Add a touch of w ater
here and there to soften a few edges.
Add the same shadow tone to the body of water on the
left. . .actuallv a frozen lake with some snow on it.
--
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TTte fresh fCoiuers

FRESH FLOWERS
I have not spent a great deal of time studying or painting flowers, and this might be to
my advantage because I find I can capture more of the essence of what a flower is rather
than worrying about the exact detail of the flower. While painting live flowers, you might
find it better to take a whiff, smell the aroma, and then turn away, rather than studying
the flower while you are actually painting it.The painting then becomes a reporting of
what you're looking at as opposed to an observation of what you have seen.

You will need. . .

Watercolor Paints: NOTE: PREPARATION:
Use a sheet of 140-pound,
Brushes: Burnt Sienna
cold-pressed 100 percent
2-inch wash brush
flat
Cerulean Blue
rag Watercolor paper that
1-inch flat wash brush
Cobalt Blue
has been previously soaked
1/2-inch flat wash brush
Lemon Yellow
for half an hour, stretched,
No. 5 round brush Paynes Gray
and dried. Lightly sketch
No. 6 liner or rigger brush
Permanent Magenta
the shapes of the flowers.
Speedball Red
Speedball Yellow
Ultra Blue
Yellow Ochre

PRACTICE SUBJECT
Sometimes I wish to paint flowers in a more complex, finished look; other times I'm satisfied with just a simple
direct, one-step rendering. I have included both styles here for you.
 ITte Jrtsh ^iozvtrs

STAGE ONE: ROSES

I have two approaches to painting roses. One is the direct approach —
painting both the light parts and theshadow parts at one time. The other
approach is painting a light, colorful wash across the entire flower, let-
ting that dry, then introducing the darker shadow parts. In either case
leave a white highlight edge to the flower to show both the contour and
the shape of the rose as well as suggest overlapping petals. Variety of
color is important in either approach; notice in the example that in
addition to using a variety of colors, I indicated darker shadow parts at
the same time I applied the first wash.
Start with a light red mixture, adding touches of water to one side and
adding touches of Ultra Blue and red to the other side, for the shadows.
For the leaf, use a mixture of Speedball Yellow and Paynes Gray; paint
the leaf at the same time as you paint the flower and overlap the two
contrasting colors to produce a natural blend.
For the yellow flower, use Speedball Yellow combined with a few
touches of Burnt Sienna as you move into the shadow sides. Before
painting the stem of the flower, spray some dots of water on the paper;
then with disregard for those dots, paint the stem. You'll notice that as the
paint touches the water spots, it will form a bump in the stem, suggesting
a thorn.

Two stage painting of roses.

1st colorful light wash. Then dry it.

2nd indicate shadows.

One wash painting of roses showing light and shadow.

STAGE TWO: ROSES

(Be sure stage one is completely dry before proceeding.)
Once your first wash has you can indicate more of the shadow
dried,
sides of the flower. Paint the shadows using a darker tone of the same
color you used for the flower. Add a touch of Cobalt Blue or Ultra Blue
to the mixture depending on how dark you want the shadow. When
painting the shadows, vary the size of dark tones and add just a couple of
highlight lines. Be careful not to cover the portion of the white paper
showing the edge of the flower petal.
The direct and indirect approaches to painting roses both capture the
simple elegance of the flower. That is our main concern with this

painting, not portraying exact detail or portrait, which could be accom-

plished just as easily with a camera.

49
ITte fresh flowers

STAGE ONE: POPPIES

Here's another assignment you can't go wrong with. Just take a large brush and mix
on your palette some varied light greens and grays, combining Lemon Yellow,
Cobalt Blue, Cerulean Blue, or Cerulean Blue with a touch of Speedball Red. Paint
some fresh, wild patterns and shapes from side to side and top to bottom. The only
thing you should avoid is using all single, 1-inch brush strokes. Put several shapes
together or use a larger brush for some broad, wet shapes.
As an alternative, wet the paper first and then paint wet into wet — already wet
paper will accept this abstract pattern very quickly. Be sure to have enough paint
mixed, and pay no attention to where the flowers are. Leave a little white in the
center of the painting and possibly in the lower right. This is really more of an
exercise of your arm than it is painting. So have fun, splatter a little, and use a lot

of color and broad, bold brush shapes.

STAGE TWO: POPPIES

The petal leaves are painted, similar to the way we painted the
rocks in Morning Light, by double-loading the brush. (See page 7
Use your 1/2-inch flat brush and, on one side, apply
for details.)
some Yellow Ochre colors; in the middle of the brush add some
Burnt Sienna, and to the very tip of the opposite side put a touch of
Permanent Magenta. Pushing firmly on the paper, curve the brush
or twist the brush around, indicating the shape of the poppy. Repeat
this technique for two or three petals then clean out your brush and
reload it with a slightly different mixture. . .maybe a touch of
Lemon Yellow, Yellow Ochre, and Burnt Sienna across the flat

brush. Most of the petal shapes get painted in one stroke. Because
the brush has several different layers of color on it, you can achieve
the variety of color that you see in the example.
I always begin my flower paintings very loose, almost abstract.
Many times I leave them that way. Or, go back after the paint has

dried to refine the stems or leaves, branches, petals, or the center

core of the flower. Keep in mind, you are not aiming for a camera-
like representation; as the artist, you can do a better job of express-
ing the fresh, loose essence of what a flower feels like. Be artistic
and capture a nice, loose flair with just some simple brush stroke
shapes and little highlights of white. Use Redi-Mask, if needed, to
preserve the white edges around the flowers. Forget exact details
and remember simply that flowers are loose, fresh, and colorful. It

would be wise, you have sketched the flower from your ex-
after

ample, to hide the flower, and even my finished sample, so that you
can bemuch more loose and expressive. This type of painting gives
you the greatest freedom to be a spontaneous artist. Have fun and
enjoy the aroma.

50
 .

T/te Country %pad

COUNTRY ROAD
One of my favorite places to teach workshops is
at Dillman's Lodge in Wisconsin. The reason is

the beautiful drive to get there. This particular

scene was captured in September; I went down
that country road with the feeling that I was
heading to my second home. It's always a pleas-
ure to do a painting that reminds you of the good
times in your life. This is one of them.

You will need...

Brushes:

1 -inch flat wash brush

3/4-inch flat brush
No. 5 round brush
No. 6 long-haired rigger brush
An old round brush (for applying Redi-Mask)

Watercolor Paints: Other Supplies: NOTE: PREPARATION:

Burnt Sienna Stencil paper
You will need a sheet of 140-pound, cold pressed 100 percent rag watercolor paper that
Cerulean Blue Redi-Mask has been previously soaked for half an hour, stretched, and dried. Lightly sketch the

Cobalt Blue Pump spray bottle

silhouette of the trees, the road, and the fence. Use an old, round brush to apply Redi-

Lemon Yellow Trigger spray bottle Mask to a few leaves, to the brightest yellow part of the tree, to the edge of the fence post,
Paynes Gray Salt
and to the road (refer to example for exact placement.)
Permanent Magenta Hair Dryer
Speedball Red
Ultra Blue
STAGE ONE: TREES AND GRASS
Yellow Ochre Set up your palette with a variety of colors. This summer, changing to autumn, scene has
a rich, colorful variety of pigments so don't skimp on the fresh paint.
Cut your stencil to protect the area around the large, middle-ground tree. (Save the
remaining stencil piece for use in stage two.) Again, you don't want to paint up to and
onto the stencil, but in case your splattering technique gets out of hand, the stencil will
be there to keep the large parts of the paper clean and dry. Don't be concerned if you do
have splatters land away from where you in-
tended; we can clean them up later or just leave
them to blend in with the rest of the painting.
Start with the bright yellow leaves that
touch the top of the fence. This is the painting's
center of interest, so you want that area to be
the brightest, lightest, freshest arrangement of
colors you can come up with. From there,
gradually move darker to the outside, using
less yellow. The exact placement of color is not
as important as the variety of color. Every two
inches introduce a slight color change, so the
colors blend in with one another. Just after

PRACTICE SUBJECT. .

This painting was created using the same techniques

only the highlight was across the background. The
key element for both paintings is establishing a
different set of values for each layer to show depth.

52
53
T/te Country %gad
are closer and the trees and foliage that are farther away. Don't
worry about the detail; aim for a large, simple, interesting spray to
indicate some texture. Apply a darker value of the same color —
this will avoid muddy colors.

STAGE THREE: BLOCKING IN

you've painted this area, use touches of water from the spray bottle,
and even a few sprinkles of salt here and there to absorb some paint
and capture the lacy delicate look of individual leaves.
Remove the stencil and apply a layer of paint for the foreground
grass. It is important that you not pay attention to the fence but pay
special attention to making the top edge of the grass lighter in value
than the foreground grass. This will give a feeling of distance and
depth to the painting. Do this to both sides of the road (remember
the road has Redi-Mask covering it, so you can go as wild as you (Be sure all paint is completely dry before moving on to stage
want.) three.)
We are now ready to paint the third and closest layer of trees;
we will make it our darkest tone yet. Mix a combination of the
Paynes Gray, Ultra Blue, Permanent Magenta, Lemon Yellow, and
Burnt Sienna.
STAGE TWO:
Cut another stencil for this separate third shape. Using a lot of
SILHOUETTE THE FOREGROUND TREES stencils gives us the freedom to splatter the paint without having to
worry about where the paint goes. It also saves taking a round brush
and painting thousands of tiny little leaves. One splatter can be a
thousand leaves; add one touch of water and all of a sudden you will
see them. Have some fun and be very loose with this section.
Use lotsof dark colors, making sure this is the darkest of all the
values so that we have three separate layers showing distance.
Don't be concerned about detail just yet because this is just the

blocking in; these are the large, simple colors and shapes that are
the strength and the foundation of a good painting. Paint the tree on
the left as well as the one on the right with the dark value. Use your
stencils to protect the rest of the painting.
Once that dries, go ahead and start blocking in the fence, both the
light sideand the dark side. Next remove the Redi-Mask and add
a basic tone to the road. Use Yellow Ochre at the highlight ridge
of the road and then gradually move to Permanent Magenta, Burnt
Sienna, and Cobalt Blue to darken the tone of the road as it moves
both farther away and closer to us. In other words, the gradation
You now need a stencil to protect the pigment applied through the goes from dark (closest on the road) to light (middle of the road)
first series of splatters. You can use the opposite piece from the
and then dark again (farther down the road). The shifting of value
stencil you already cut, or cut a new stencil to suit your purpose. will help the viewer feel the sense of distance.
You'll need to protect the lighter trees from the dark splatters you
At the edge, where the road overlaps the grass, use a separate
are about to apply.
brush, dipped in clean water, to go over the dark brush stroke and
Introduce your middle-dark colors to the distant forest trees.
make the hard edge disappear.
This will help silhouette the shape of the light foreground trees. As
before, use a variety of color, and be sure that your color is dark
enough so that we can see a good separation between the trees that

54
55
17te High Seas
HIGH SEAS

The seas can be wild and turbulent at times, and, at other times, NOTE: PREPARATION
calm and serene. Take some time to go sketch the different moods Take a sheet of 140-pound, cold-pressed 100 percent rag water-
of the sea; you will be a better informed painter as a result. color paper, that has been previously soaked for half an hour,
I have provided two renditions of the sea for you to follow; each stretched, and dried. Loosely sketch the outline of the breaking

captures a different mood. wave and the curl of the water coming at you. Even in your pencil
sketches capture the action because that is the main theme of this
You will need... Watercolor Paints: painting.
For this painting, it might be helpful if you stand up and paint
Burnt Sienna
Brushes: with the action of your arm and not just the slight movement of your
Cerulean Blue
wrist. This will help you generate the theme of this painting, which
1-inch flat wash brush Cobalt Blue
is turbulence and action.
1/2-inch flat wash brush Lemon Yellow
2-inch flat brush Paynes Gray
No. 5 round brush Permanent Magentc
Speedball Red
Other Supplies: Speedball Yellow
Pump spray bottle Ultra Blue
Tissues Yellow Ochre

HIGH SEAS STAGE ONE:

PAINT THE ACTION
With a very dark mixture of Paynes Gray,
Ultra Blue, Permanent Magenta or Speed-
ball Yellow, start painting the very dark
inner curl on either side of the breaking,
turbulent wave. Intermittently add touches
of water from your pump spray bottle to
soften the edge and create the lacey, wet
effect of the wave. Note the variety of
color and the darks used in painting the
inner side of the wave. As you move
farther away from the action of the wave,
lighten the tone by using more Cobalt
Blue and less Paynes Gray. Again, vary
the color, adding touches of Cerulean
Blue as well. Paint for four inches and
then stop and add a touch of water from

56
 TTte High Seas
your pump spray bottle. For the area behind the breaking wave use your No. 5 round brush with a similar variety of color, but push and
pull the brush away from the paper, achieving a thick and thin line of paint.

In the background, use the spray bottle less frequently and leave only a couple areas of white showing. Curving the line imparts the

feeling of action to the distant sea, which is in keeping with the curl and the crash of the middle ground wave.
For the foreground, use a flat wash brush and a mixture of Cobalt Blue and Ultra Blue with touches of Permanent Magenta. Your main
concern here is painting the action of the sea so don't be afraid to stand up and let loose with your paint brush.
The coast foreground gets painted with splatters of water off the 1 -inch flat brush (whereas in achieving the action of the sea, you need
to use more of an up and down twisting brush action on the paper). Pay close attention to the shapes that you are painting and once in a
while just go ahead and splatter paint right across the paper.
Paint the breaking wave in the same splattering fashion that you used when painting the lower foreground. Mix a large puddle of Cobalt
Blue with touches of Burnt Sienna or Permanent Magenta in it. Load up both sides of the brush, scooping paint off the palette, and then
splash and splatter paint right off the end of the brush. Excess dots will no doubt land everywhere but try and concentrate the dots where
the wave is breaking. Add touches of water from your spray bottle. Reload the brush several times with additional paint from your palette
and continue splattering. To pick up the excess dots use a dry tissue to blot, or dip a tissue in water and wipe the excess dots clean. Don't
be afraid to make a mess; remember, a crashing wave is not afraid of splashing water everywhere.

HIGH SEAS STAGE TWO: REFINING

(Allow paint to dry completely before continuing.)
Once all the paint has dried, you may come back and
add refinements. To eliminate some of the clean, white
paper around the crashing wave, use the large 2-inch
brush, to tone the sky. Combine Cerulean Blue and a
touch of Speedball Red, making certain, as you paint,
to create a darker value in the upper left hand corner,
thus achieving a feeling of distance and depth in the sky
while same time eliminating the stark white paper
at the

in that area. If you want a cloud or two, blot them out

with a tissue while the paint is wet. Use the same

mixture in the lower right foreground, painting right
over the previous brush strokes.

HIGH SEAS STAGE THREE:

ADDING DETAIL
Turning your attention back to the center of
interest, begin adding a few extra darks inside
the curl... quickly touching them with drops of
water from the spray bottle. A touch of warm
color, (Yellow Ochre) will help highlight the
wave and also exaggerate the cool colors. Be
sure the Yellow Ochre is cleaner, fresher, and
brighter near the center of interest and muted
with some Cobalt Blue or Permanent Magenta
in other areas. Add a few extra splatters from
the crashing wave and then introduce a subtle
suggestion of the wave's reflection in the fore-
ground sea. While adding detail, keep in mind
that your main intent is to capture the action of
the sea. I have seen many abstract renditions of
this subject that capture the feeling better than

realistic renditions.

57
77t£ Catm Seas
CALM SEAS STAGE ONE AND TWO-
SIMPLE
THE SKY AND THE FOREGROUND
SAND AND FIGURES.
Since the sea is not always violent and erupting, we
will now attempt to portray it in a calm, delicate
structure. Make no mistake, however, this method
is just as challenging and exciting as the high seas.

To portray the calm sea, you will need to use a

lighter, almost a vignette touch that is equally as
successful as the more complex version.
To begin, splash some dots of water across the
paper. Paint the sky with a Cobalt Blue mixture,
frequently adding touches of water from the spray
bottle. Next paint, using a mixture of Speedball
Yellow. Paynes Gray and Cobalt Blue. The dots
will soften the brush strokes, giving the appearance
of action but in a more delicate fashion. For the
foreground sand and beach just introduce a light
wash of Yellow Ochre, an accent of color for the
figures.

CALM SEAS STAGE ONE AND TWO- COMPLEX

Render detail in the same order as you did for high seas, just using greater quantities of paint. The sky is a combination of Lemon Yel-
low, Ultra Blue, and touches of Paynes Gray. Before you begin painting, layer the entire sky with some dots of water from your spray bottle.
Lay in some of the dark colors for the sky, silhou-
etting a few random white shapes to suggest clouds
as the tone of the sky moves closer to the horizon
line. Make certain that the colors are darker by
using more Ultra Blue and Paynes Gray moving
right into the sea. The dots of water on the paper
will soften your brush strokes suggesting the break
in the water, or the curl of the wave.
Using a round brush to paint the sea, push the
brush firmly on the paper in certain areas and then
lightly touch the paper in other areas to achieve a
thick and thin line across the water. Start with a
Cobalt Blue mixture just below the sea, quickly
making a transition into Yellow Ochre for the light
tone of the beach. Gradually move into Burnt Si-
enna, Permanent Magenta and Cobalt Blue to
darken the sea.

58
59
 T/te River Reflections

NOTE: PREPARATION
Take a sheet of 1 40-pound, cold-
pressed, 100 percent rag water-
color paper that has been previ-
ously soaked for half an hour,
stretched and dried. Lightly
sketch the tree, the shoreline re-
and the ducks. Use some
flection,

Redi-Mask to block out the fore-

ground ducks, the shore and
ground, along with highlight sec-
tions in the bright yellow tree :

mostly on the sunlight side. Re-

member when using Redi-Mask,
it is important to cover not only
large, blocked-in massive areas
but simple, delicate areas as well.
RIVER REFLECTIONS Use an especially delicate touch
for the leaves. This is just to
I came upon this river scene one
ensure the highlight on this tree.
4'
morning and what I enjoyed most was
the surprise highlight on one tree when
m •

almost everything else was in the dark.

I wanted to capture that same feeling
of surprise in the final painting.
Photo Above: Here 's an example when
a change in the shape (tree) and a
variety of color transformed a picture
into a painting.

You will need...

Brushes:
1-inch flat brush
1/2-inch flat brush
No. 5 round brush
No. 8 rigger brush
An old round brush STAGE ONE:
(for applying Redi-Mask)
THE HIGHLIGHTED TREE
Watercolor Paints: After the Redi-Mask has dried completely,
Burnt Sienna take yellow and splatter the highlighted
Cerulean Blue Work from a light tone of Speedball
tree.

Cobalt Blue Yellow and water gradually to darker

Lemon Yellow tones of Speedball Yellow and Yellow
Paynes Gray Ochre, with touches of Cerulean Blue or
Permanent Magenta Speedball Red. The excess splatters

Speedball Red around the tree will help create texture.

Speedball Yellow Applying heavier amounts of pigment on

Ultra Blue these excess areas around the tree will

Yellow Ochre also cause the color to puddle in a differ-

ent fashion when we paint over them later
Other Supplies:
—y T^^7 on.

Redi-Mask
Pump spray bottle
Rubber-cement pick-up
Cotton swabs

60
 4!'Hr7^
* &.

^^^^
^ t

V^
^

61
TTte River Reflections

STAGE TWO: SILHOUETTE the top of your paper, ordrawing board, by at least three inches so
that you encourage a wet running of the color.
Continue painting the lighter trees reflecting in the distance with
a variety of color. Again overlapping the darks. You'll have to clean
out your brush often and apply fresh, light yellow color. Once you
have finished with the reflection, splatter a couple of yellows across
that wet, dark area, to highlight it. Lay the paper flat and let everything
dry. Using your fingers or a rubber-cement pick-up. remove the Redi-
Mask from all areas except the foreground ducks.

STAGE THREE: THE DISTANT MOUNTAIN

We can now indicate a suggestion of the distant mountain and
some of the associated trees that are on the hillside. Use the same
dark mixture that you used in the reflection, then add a tone of
Yellow Ochre and Burnt Sienna across the foreground gradually
making it a darker tone. After the basic tone of the shore has dried,
come back with a darker mixture of the same colors suggesting —
a shadow. Keep in mind, you want to achieve an interesting shape
and a variety of edges along the way.

(Wait until stage one is completely dry before proceeding.)

To darken the tone immediately around the tree, cut out a stencil
and place it over the tree to preserve that shape. Use the splatter
technique for the upper edge of the trees as well. Be careful not to
splatter too much on the stencil; in this case you might want to tap

your brush on your finger to achieve the smaller, lacier dots sug-
gesting the dark behind the tree. Let the splatters dry completely
and then silhouette the highlighted tree with a dark background.
With theRedi-Mask still intact, use a variety of color, start on one
side of the paper, and gradually move to the other side.
To achieve the hard and soft edges of the tree as it was seen
reflecting in the water, you must have enough paint mixed in
advance so that you will not run out and have to spend time mixing
additional colors. Paint the dark parts of the reflections first, using
Paynes Gray, Ultra Blue, and Permanent Magenta with touches of
Lemon Yellow. Be sure and use plenty of paint and water.
In another section of your palette, have ready a mixture of light
Lemon Yellow, and once the entire large mass of dark area is

painted, begin painting the actual light yellow tree shape. Paint the
Using a large mixture of Cobalt Blue with slight touches of
shape of that tree from the inside of the tree overlapping the dark
Permanent Magenta or Lemon Yellow, add a tone across the lower
— yet still wet — background. It is very important to clean out your
foreground water. While this area is still wet, take your finger and,
brush often and reload it with the very light, bright color since this
in various places, rub the Cobalt mixture over the dark reflection
color will become infiltrated as you paint the light tone over the
few additional edges.
to soften a
dark tone.
Wherever you would like to have a soft edge, just repeat a
couple of brush strokes over the dark edge. Or, take your finger and
rub the light tone over the dark tone softening the edge. Let the light
yellow continue over the dark tones and even splatter some of the
light color right over the dark in a few instances. Be sure to elevate

62
STAGE FOUR: FINISHING TOUCHES
In this final stage, you want to darken, once again, the distant background — whether it be the mountain or the sky — to

exaggerate the highlight around the yellow tree. Add some shadows to both the highlight tree and the trees in the
background, plus some additional shadows across the ground and water.
Beginning with the center of interest, add the accents of a few tree trunks, branches, and limbs. Remove the Redi-Mask
from the foreground ducks and block in their basic shapes with a variety of colors — as you did for the figures in the Village
Church, chapter 1. Keep in mind while you are adding the various shadows that you can, at the same time, soften some
edges so as to create a lost and found look to the painting.
If your foreground reflection appears too dark, or lacks a variety of color after it has dried, take a very strong mixture
or just Lemon Yellow or Cerulean Blue with a small amount of water and splatter a variety of large shapes in the reflection.
The color will dry darker and add some variety to the large foreground.

63
1#e "Breakfast <Ia6te

BREAKFAST TABLE
The best objects to paint are the things we are most
familiar with.You would be surprised at the every-
day items, such as fruits and vegetables, that offer

endless possibilities for painting. Grab a spotlight,

turn off all the lights in the room, and start sketch-
ing. Look for some interesting patterns and shapes
of light and shadow. Experiment with dramatic
lighting on everyday subjects, or move in closer,

and you'll find a work of art waiting to be painted.

You will need...

Brushes:

1-inch flat brush

1/2-inch flat brush
No. 5 round brush

Watercolor Paints:

Burnt Sienna
Cerulean Blue
Photo reference: Experiment
Cobalt Blue
with dramatic lighting on
Paynes Gray
everyday subjects. Move in
Permanent Magenta
close or farther away. Play
Permanent Orange with the arrangement and
Speedball Red you '
find a work ofart waiting
11

Ultra Blue to be painted.

Yellow Ochre

Other Supplies:
Pump spray bottle
Tissues
Salt
Cotton swabs

NOTE: PREPARATION:
Use a sheet of 140-pound, cold-pressed 100 percent rag watercolor paper that has been previously soaked for half an hour, stretched, and
dried. Lightly sketch your basket of fruits and vegetables. Don't be overwhelmed by the variety of things you see in this picture because
they are really very simple to draw.
The bananas are rectangular; the fruits and vegetables are round, and the basket is oval. You may want to practice with just one or two
of the elements, such as the banana and the apple, before you put them all together as a still-life. The important thing in this painting is the
first wash; in half the cases for this type of painting, the first wash is all that is needed. Study the close-up before you begin; the idea is to
capture the essence of the subject, not the detail.

64
 The "Breakfast 'Tabic

STAGE ONE:
OVERLAP THE COLORS
Mix in your palette a variety of all the
possible colors that you are going to use
except for the dark greens. Remember
two things while painting this subject.

First, this is a fresh basket of fruits and

vegetables so you want the colors to
maintain their very fresh, bright color
throughout the painting. Second, paint the
very loose, natural suggestion, not the
photographic image.
Start with the lighter edge of the ba-
nanas and the distant banana shapes and
then work closer leaving some white
highlights. Only on the banana do you
want of white highlights; on
to leave a lot
the other objects you can leave a few ac-
cents, but you want to be careful not to
leave too many white highlights since it will break apart the unity of the painting. Use a rich colorful wash and let most, if not all, parts
overlap one another. Paint the banana, then paint another darker banana, and then the bananas that go into some of the lettuce leaves and
vegetables letting some of the colors overlap one another. Don't be quick to blot or to pick up if something appears imperfect.
Let the colors flow from the yellow of the banana into the green of the lettuce into the orange of the oranges and the rich red tones of
the apple into the browns of the basket. You can leave little accents of white between different parts if you feel it necessary but do not leave
a complete white outline separating all these different parts. Remember, you can always erase a color.
Let the freshness of the colors stand out. Use a variety of color. One side of the apple could be a light, bright red, going into a rich, deep,
dark red-violet. If the color on the light side of the fruit isn't light enough, you can take a tissue and blot some of the color away before
it has dried.
You can also use the blotting technique to indicate the roughness of the orange. A key word while you are painting this rich, colorful
wash is essence. Let it be rich, flowing, and colorful. Have a mat on hand early and review your painting often. Feel free to stop and call
it finished whenever you want. (See sample.) I like this vignette as much as the darker finished painting.

65
"The "Breakfast "TabCe

STAGE TWO:
IDENTIFY THE SHAPES
(Be sure stage one is completely dry before
proceeding.)
At this point, you are ready to identify

the shapes. Do you see the apple as being

round? Do you see the basket as being

oval? Do you see the banana as being

rectangular? You can achieve these shapes
either by leaving the object lighter and paint
the background darker or re-paint the object
dark against a light background. After you
have identified some of the shapes, you can
identify a shadow or introduce contour to

The banana might

the objects in the painting.
have a light edge and a shadow edge. For the
round objects, paint a darker shadow side
then quickly take a brush, with a little water
on it, and apply the water to soften the edge.
(See page 9 for softening edges.) Each painting will decide its own needs; some might require more refinement than others.

STAGE THREE:
REFINEMENTS
Look at your painting behind a mat often to
determine the right time to end without
overworking the painting. If anything, you
might come in with a dark background,
which would help achieve a stronger feeling
in this painting. Use Paynes
of distance
Gray and Ultra Blue and include some
splattering to indicate the lacey edge around
the cabbage, lettuce or celery tops. You can
include a book or a newspaper on the table,
but this is optional. Concern yourself with
these important elements: the first wash,
which is the colorful essence of each object
in the painting; the contrast showing just
the outside shape, and the form that identifies
the contour of the object. Finally, look to
see if anything is needed to emphasize
detail or highlights. Just the accent of a
brown along the edge of a banana or the line of the wicker basket should be all you need. One or two of these accents and you should be
ready to sign your painting.

66
67
 .

I7te Snow Shadows

SNOW SHADOWS
I came upon this scene while visiting my
cousins in Indiana. What intrigued me was the
long, interesting pattern of shadows created by
the silhouetting trees. Hence the title "Snow
Shadows." The long, dramatic pattern of the
shadows emphasize the feeling of winter light.

You will need...

Brushes: NOTE: PREPARATION:

1-inch wash brush
flat Use a sheet of 140-pound,

1/2-inch flat wash brush cold-pressed 100 percent rag

No. 5 round brush watercolor paper that has

been previously soaked for
Watercolor Paints: half an hour, stretched, and
dried. Sketch the outline of
Burnt Sienna
the distant trees, the fore-
Cerulean Blue
ground trees, the shadow
Cobalt Blue
patterns, and the rocks with
Lemon Yellow
a few simple lines. You will
Paynes Gray
create the exact shape with
Permanent Magenta
the brush but this will serve
Speedball Red
as a guideline.
Yellow Ochre
Ultra Blue

Other Supplies:
Pump spray bottle
Stencil paper

PRACTICE SUBJECT. .

Here ' s another example of how shadow

patterns and simple shapes can make
for an interesting painting.

6X
Up.'^wy
J
^JIP
69
 >

The Snow Shadows

STACK ONE BLOCKING l\ THE TREES :

O .
to panes: the sky w hile you splatter the top edge of the trees. Tap
- . c-.cil t y our finger
and shake your wrist to splatter the paint off your brush.
Start w uh the light Lemon Yellow color exactly where the sun meets the edge of the

tree line. Using plenty of the yellow tone, then adding the reds around that, slightly o\ erlap

the yellow and then quickly work in the blues. If you have an extra brush, use one brush
for each color mixture. Work with wet paint so that the colors blend into one another. If

needed, use light touches of water from your pump spray bottle to soften the upper edge
of the tree and help the colors naturally blend into one another.
When you reach the horizon line, clean out your brush, dip it in water, and then come
across w uh clear water to soften the entire lower edge. Let this area dry naturally while
you move on to the forega">und water.
The important element for the foreground w ater is depth. Start with a lighter value of
the Cerulean Blue and gradually add the other colors and darker blues as you paint the
w ater moving closer to you. When you come to the section where the sunlight is sparkling
in the water, gradually lift your brush as you come across, achieving a rough edge or dry
brush look. Touches of w ater from the pump spray bottle will help create a variety of edge s
and soften the look of the sunlight.

STAGE TWO: INDICATING THE TREES

Best e stage one is completely dry before proceeding.
Start with the same color y ou used for the background trees w here the sunlight comes
around the trunks- Use light yellow s moving to the reds, into the blues, and then quickly
into the deep browns; the fast gradation gives the impression of the sunlight behind the
tree. Block in the trees, using both the side of the brush and the heel of the brush so that
you will have a nice rough edge showing the bark of the tree. Be sure and use a variety of
color with Lltra Blue. Burnt Sienna, Permanent Magenta and even a touch of Paynes Gray
in parts. The most important elements are the variety of color and the ragged brush strokes

that suggest the trees. Next, mix a green tone using Lemon Yellow and Paynes Gray, and

before the point forme trees has dried, splatter the green right over the tree trunks, blending
:; jts *o~e ireas
•

STAGE THREE: THE GRASS AND THE ROCKS

Rocks can be one of the easiest things to paint if y ou double-load y our brush. Paint rocks
thai are farther aw ay in a lighter value and not as vibrant a color as the rocks that are close.
Indicate bom large, medium, and small size rocks for variety. And. in some cases, paint

To paint the grass, use the same color you used for the leaves and scrape upwards with
the side of the flat brush.

STAGE FOUR: FINISHING TOUCHES

Adding these finishing touches will capture the shadows under the snow bank, bringing the
eye in tow aid the painting. Darken the shadow s under the snowbank and then eliminate
your brush strokes by adding a touch of water on one side. Put a light wash of Cobalt Blue
in the upper left hand comer so the sky and tree contrast will not be that strong.
"
 You can add more rocks, more shadows, or more clumps of the sunlight effect coming around the tree and the Long simple
snow on the top of the rocks. shadow partem in the foreground.
You can also add more branch detail and a darker tone at the base If your rocks are too distracting against die Light blue mam m
of the forest in the very distant background. Don' t concern yourself the water, add a light wash of Cobalt Blue right across the rocks,
with following the sample, exactly. The intrigue of the painting is the water, and the snow to tone down the contrast.

'
 .

More About WatercoCors

If you enjoy watercolor painting, either as an artist or as a REPRODUCTIONS
collector,you will be interested in Tom Lynch's workshops,
More than 40 of Tom Lynch's watercolor paintings have been
reproductions, and video cassettes, or art materials.
reproduced as signed limited fine-art prints. To receive a full color
catalog, send $5.00 to:
WORKSHOPS Tom Lynch
Tom Lynch travels extensively throughout the country, lecturing P.O. Box 1418G
and conducting workshops on watercolor painting. Workshops Arlington Heights, Illinois 60006

are available either for beginners or for intermediate/advanced

painters. The lectures and workshop classes give you a chance to

talk to the artist and work individually with him on your painting
techniques.
OTHER QUESTIONS
For information about upcoming workshops or to arrange for a Tom welcomes your comments or questions regarding his books
workshop in your area, send a self-addressed, stamped envelope or TV series. Send all inquiries along with a self-addressed

to: stamped envelope to:

Tom Lynch Tom Lynch

P.O.Box 1418G P.O. Box 1418G
Arlington Heights, Illinois 60006 Arlington Heights, Illinois 60006

A message to all our Artist Friends. .

We are a company dedicated to teaching all mediums of Art via We have chosen to spend our energies, abilities and resources to

television and direct mail. get the peoples of the world into Art, because it is beneficial to all

of us in so many ways.
Our programs can be seen around the United States and beyond
to our border friends in Canada, Mexico and the outer Islands. We are constantly looking for artists in all areas to join us in this
effort. If you are interested in art, we would like to know you and
We produce informative and interesting teaching methods such
about you. You may be interested in joining our company effort in
as, Watercolor with Tom Lynch, Acrylics with Brenda Harris, Oils
some way or attending our seminars. Send for our information by
with Lynne Pittard and Drawing with color pencils, markers and
writing to me. Thank you.
art stix with "world famous" Conni Gordon.

Our Art Series can be seen on more than 1,000 stations on cable
TV via The Learning Channel (TLC) and Public Broadcasting
Stations (PBS) in most areas of the country. If you phone or write
to your local TV station and request our series, it will help to get
them on the air in your area. If this does not work, let us know as
we would like to assist you.

vDraphics
US I I of Florida, Inc.

Producers of Educational and Instructional Materials

400 N.E. Tfiird Street
Del ray Beach, FL 33483

72
 s '

Horn Lynch biography

salesman writes back. 'It's a grand market! Nobody has shoes yet!
There's always a good, positive aspect to everything."
Positive, bold thinking led to television. Tom wrote TV stations
and video companies proposing his concept for a watercolor
instruction series. One of the stations, KOCE-TV, already pro-
duced an oil painting Though Tom received no response, he
series.

wrote KOCE every six months with a career update. Lynch also
proposed his idea to Hunt Manufacturing, maker of Speedball
watercolor products (he is their spokesman), suggesting the benefit
of sponsoring a watercolor program. Coincidentally, a KOCE
employee saw one of Tom's exhibits in a Chicago art fair. Im-
pressed by how the color reproduced so well in prints, she showed
his work to her boss at KOCE. Eventually, the multi-faceted
strategy worked. One of the video companies contacted KOCE
with Tom's idea. Inundated with comments about Lynch from the
video company, Hunt Manufacturing, and their own employee, the
producers offered Tom an audition. Meanwhile, Tom had been
{continued from inside front cover) busy analyzing KOCE's past programs and talking to production
"Being an artist is a business, not a lifestyle," Lynch asserts. people. Lynch sought to provide what KOCE wanted. Unsure of
"We are in a service business, not a manufacturing business. We how he'd appear to an invisible, unresponsive audience, Tom left
provide a service, not a product, to a clientele. The artwork they nothing to chance. He bought a VCR camera, set it up in his empty
display gives them satisfaction. It doesn't wash their car in an studio, and practiced teaching to the camera. He practiced con-
easier way, or clean their house any faster. It gives them pleasure. stantly, armed with techniques for maintaining eye contact, a high

So I look on all my business ventures as servicing a clientele." Tom enthusiasm level and other tips. Limited to 28 minutes per painting,
always gives his clients something extra. At fairs, for example, he Tom prepared the same picture in different stages so the viewer
sets the atmosphere with plants, music, and an umbrella and chair could progress from blank paper to finished painting, ready to mat
off to the side in case a client wants to study a particular piece or and frame. By the time Tom filmed the pilot, his professional ap-
chat with him. If a client commissions one painting of a lake scene, pearance on camera won him the job.

Tom paints three and lets the client choose his favorite. Sometimes Just as he does in the television series. Lynch has an objective
he sells more than one, but even if he doesn't, Tom always for each painting which reflects his philosophy as an artist. "Right
impresses his clients with his professionalism. now there is a moment someplace where light has just appeared on
If a bank has a grand opening, Tom offers a free display until something. This moment will quickly slip away so I am driven to
they get their artwork. Usually the bank buys some of his pieces. capture this feeling for all to understand." says Tom. "This is my
Exposure is very important, according to Tom. Showing his work reason for being a painter." While he considers style, subject, color

wherever he can — at banks, libraries, churches, and hospitals — and perspective important, he believes they are overshadowed by
helps him gain recognition. He finds places to display his work by the artist's communication. "Painting is not to convey objects, but
using the service approach. "I always look at it from the displayer's a personal feeling about the objects. The painting has to commu-
point of view. I write a proposal that shows them how it would be nicate some idea or feeling that the artist has," says Tom. Usually

interesting or beneficial for them to display my work. My proposal that feeling communicates best when presented simply. Often he
is always based upon what would be helpful to the displayer, but has to stop himself from adding too much detail. "There's more
it also is helpful to me." elegance in understatement," Tom says. "I try to leave some details
A thematic series of paintings to take on tour gives Tom another undone so the viewer's imagination completes the picture. It draws
means of exposure. He highlights the series dramatically to focus the viewer into the picture." Always learning and reaching in his
attention on the shows. For example, Tom premiered his "Chicago profession, Tom believes growth is necessary for an artist. Because
At Night" series atop Chicago ' s John Hancock Building; Chicago' the learning process is continual, he feels there are no experts.

harbor paintings opened in a private yacht club; a Mayor Daley's Perhaps someone has talent, but he must also have the desire and
Chicago grouping debuted in Chicago's Richard J. Daley Center determination to weather the frustrations of cultivating the talent.

on the first anniversary of Daley's death. "The best gifts are the ones you develop," Tom emphasizes. To
Doing things in a big way characterizes Lynch's style. "I dive him, the beauty and thrill of art are in the creating. "If I have fun
in to whatever I'm doing. I like to experiment boldly, really try was worth my time, effort and involvement."
trying," he says, "It
something, then decide if I like it. Passively listening and tenta- Tom hopes to pass on that feeling. Encouraging his children as
tively trying is not the way to improve your style or your career." his parents encouraged him, Tom and his wife Janell proudly frame
says Tom. In addition, he advocates a positive approach: "I like the and display daughters Traci's and Tami's drawings. Whether or
story of the two shoe salesmen who went to Mexico. One salesman not the Lynch's daughters inherit artistic talent, they will inherit
writes back, 'This is nobody wears shoes.
a bad market because their parents' pleasure and pride in their work.
There's no chance of developing a sales market.' The other Write to Tom at: P.O.Box 1418G, Arlington Heights, IL 60006.
79946"10291"" 8