Watercolor Artist April 2018

7 WONDERS OF THE (WATERMEDIA) WORLD
Watercolor
ARTISTSNETWORK.COM
25 th
Anniversary
Issue
Celebrate!
ALL-NEW
LOOK
+ 25 KNOCKOUT
PAINTINGS YOU’LL
LOVE FOREVER
THEN & NOW

Trends Nosegay
(c.1925; watercolor
and Tools and pencil on
paper, 18x12) by
That Really Charles Demuth
see page 16
for more on
Work the artist
APRIL 2018
Bright
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Contents APRIL 2018
25 th
Anniversary
Issue
Special
Section
28
25@25
We went to our archives to
pick 25 watercolor paintings
that still knock our socks off.
BY ANNE HEVENER
42
THEN & NOW
Three artists share the
impact of 25 years of
watercolor innovation.
BY BETH WILLIAMS
48
7 WONDERS OF THE
WATERCOLOR WORLD
The curators of seven major
collections present seven
marvels of the medium.
BY TAMERA LENZ MUENTE
48
Features
56
DAY IN THE LIFE
58
WHAT LIES BENEATH
68
NOT-SO-STILL LIFES
Travel along with a busy Debra Edgerton brings more Dawn Clements' unique
artist to see how he feeds to the story in her luminous approach enlarges the scale
his creativity hour by hour. watercolor portraits. of her daily art encounters.
BY MARIO A. ROBINSON BY LOUISE B. HAFESH BY JOHN A. PARKS
ArtistsNetwork.com 1
APRIL 2018
Columns
4 EDITOR’S NOTE
6 HAPPENINGS
An artist-turned-author, plus
art and the environment,
and more.
BY MCKENZIE GRAHAM
10 CREATIVITY
WORKSHOP
Seven tried-and-true tips to
loosen up your painting style.
BY BEV JOZWIAK
16 ANATOMY OF
A PAINTING
An in-depth look at
a famous watercolor
by Charles Demuth.
BY JERRY N. WEISS
18 WATERCOLOR
ESSENTIALS
Painting rocks isn't hard
when you know two key
principles.
BY JULIE GILBERT POLLARD 10 66
66 BRIGHT IDEAS
Easy ways to turn your
studio into a personal
sanctuary. ON THE COVER
BY BETH WILLIAMS
7 Wonders of the
80 BURNING QUESTION (Watermedia) World 48
Which three famous artists 25 Knockout Paintings
would you invite to dinner? You'll Love Forever 28
BY ANNE HEVENER Then & Now: Trends and
88 OPEN BOOK Tools That Really Work 42
Turn any outing into Bright Ideas to Transform
a creative exercise. Your Studio 66
BY LIZ STEEL Charles Demuth 16
Get Social Nosegay by Charles Demuth courtesy of

Godel & Co., Inc., New York, NY.
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2 Watercolor artist | APRIL 2018

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Editor’s Note Watercolor
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Creativity Workshop
Painting Outside the Lines

Loosen up your style with these seven tried-and-true tips. By Bev Jozwiak
t hinking outside the box and

painting outside the lines is my
motto—but it’s one that didn’t
come easily initially. I began my
art journey by painting realistically.
painting styles I admired, and I worked
hard at getting outside those lines.
I also spent a full year exploring the
use of varied color, thinking about how
to paint red boots, for example, using
Morning Brew (watercolor
on paper, 17x22) features
an unfinished background.
It’s OK to leave parts of the
painting unfinished,
especially non-essential
I even dabbled in pointillism at one not just red paint, but also yellow and sections such as the upper-
point; talk about tight! blue to make the color more dynamic. left portion of this work.
I minored in art history in college, Painting loose can appear effort-
and, realizing that Impressionism was less, but it actually requires a shift not
my favorite art movement, I set out to only in process but also in thinking.
change my style and make it looser. So, Here are my seven tips for achieving
I took workshops from artists whose a more relaxed painting style.

1. DRAW A STRONG finished their subject, I can’t provide an ing turns out. I like to paint on slick
FOUNDATION. answer. It will look like an afterthought, surfaces, usually opting for 140-lb. hot-
We’ve been taught from a young age to because, quite frankly, it is. pressed Stonehenge Aqua by Legion.
stay inside the lines in our artwork, and I’ll occasionally paint on YUPO, cold-
it’s difficult to break that habit. But, pressed or rough paper. A slicker
I’ve learned over time that it’s possible 3. USE A CONFIDENT surface provides less “grip” for paint
to “draw tight and paint loose.” BRUSHSTROKE. and allows a more natural flow.
I find that it’s important to establish A confident brushstroke lends itself to You can’t use the same brush on the
a strong foundation for my paintings, a more relaxed painting. When we’re various papers and expect the same
so I draw with much more detail than first learning to paint, we’re often results. My go-to brush is Cheap Joe’s
I paint. This enables me to paint with focused on how to mix colors and Golden Fleece No. 10 round. It’s the
complexity where I want and “slop” make our paintings look representa- brush I use on YUPO or hot-pressed
paint outside those lines as I choose. tional, which can appear a bit fussy paper. It’s an inexpensive brush with a
If you find it difficult to break out- and muddled. As we grow in our tech- great point that I abuse horribly by
side the lines, try erasing a few key nique and experience, the concepts painting, scrubbing and even pushing
pencil marks. Doing so will help you become more complex. We begin paint backward for a textured look,
remember that you don’t just want to thinking about design (the weaving and yet it survives. In addition, it holds
fill in the spaces. of darks and lights through our piece), just the right amount of water for
color dominance and temperature, these slick papers.
values, unity, and so much more. When painting on cold-pressed or
2. THINK OF YOUR Limiting the number of colors you rough paper, I use a mop brush or a
PAINTING AS A WHOLE. work with in each piece will help you sable, as each holds more water and
Approaching your painting as a whole, manage these concepts. Leave some allows for a more fluid stroke.
and not as a foreground and a back- white paper showing, or try to weave It’s a good idea to experiment with
ground, will help you to loosen up. lights and darks throughout your a variety of brushes on different
If you choose not to paint a back- painting to create a more compelling papers to determine the outcomes
ground—or to keep it almost white— design. A well-placed, deliberate you most desire in your work.
the object should fade into the stroke can do more for a painting
background naturally. If you do than lots of little hesitant ones. This
choose to use a background, then it’s type of stroke comes only with a 5. START WITH THICK PAINT.
important to find ways to drag your plethora of paintings under your belt. Although it seems counterintuitive,
background into your subject. I’ve found that applying heavy, almost
Always think about lost and found toothpaste-consistency paint directly
edges, or hard and soft edges. When 4. CHOOSE THE PROPER onto the paper allows me to paint
teaching, I tell my students that I’m open PAINTING SUPPLIES. looser. With that much paint on the
to all questions, except one: “What do I Choosing the right materials can make surface, it’s then possible to just hit it
do with the background?” Once they’ve a big difference in how loose your paint- with water and let the thick paint run.
Even with all that color,

Life’s Little Treasures
(watercolor on paper,
10x19) still reads as
a black bird. I like
to scribble with a
9B pencil into wet
paint, and then drag
the pencil into the
background to
create texture.
Creativity Workshop
I actually mix very little paint on my

palette, but when I do, I drag in new
color before applying it to the paper.
Using a thicker paint ensures that
I avoid homogenizing or stirring the
paint too much. Although the
setting in
Check your palette regularly as you Creature
work, ensuring that you haven’t stirred Comforts
it into a lifeless puddle. If it’s not (watercolor
pretty on the palette, it’s not going to on paper, 22x16)
appears
be pretty on the paper. unfinished and
understated,
the viewer still
6. DON’T “FINISH” perceives that the
cat is lying among
YOUR PAINTING. a pile of pillows.
To keep things loose, I don’t finish out
every inch of a painting. I’ve learned
over time that it’s OK to leave parts of
a painting unfinished or faded; the
viewer will “fill in the blanks.”
When you’re painting, determine
which areas of the painting aren’t as
important to the painting’s story. I’ve
found it’s often the background and
lower portions of the painting. When
painting figures, it’s often the fore-
head, sides of the face and limbs.
7. LOOSEN UP YOUR MIND

AND BODY.
Your brush is an extension of your
mind and body. If you’re feeling tense,
it will come through in your work,
often resulting in a fussy, overdone
painting. Just as you’d prep your pal-
ette before painting, it’s important to
prep yourself. Do some stretches or
neck rolls to release any pent-up
tension. Listen to music that inspires
you, and take breaks as needed.
A loose, more relaxed painting
style develops over time through lots
of practice—and patience. Embrace
the process.
In Rory’s Reign
18x18), I used thick,
dark, graining colors to
create texture, and
then hit them with a
wet mop brush to
make the paints run.

demo
Painting
Loose
Step 1 Step 2
I used a No. 2 pencil to sketch my preliminary drawing on Continuing with the idea of painting shapes, I filled in more
hot-pressed paper, thinking in terms of shapes, not objects. of the face. The darkest skin tones are a mixture of French
This means that I draw the shadows and the shapes, not ultramarine blue, burnt sienna and cadmium red. As
the nose, mouth and eyes. To create the eyes, I painted the I moved into the lighter side of the face, I frequently used
entire eye sockets, including painting right over the whites a mixture of cadmium red and yellow ochre. The blue by the
of the eyes. temple is Holbein lavender.
Step 3 Step 4
To keep things loose, I painted directly on the paper using an Warm colors pull objects forward, while cool colors cause
almost toothpaste-like consistency of paint, and then hit the them to recede. With this in mind, I placed warm colors on
thick paint with water. Using a dry brush in a calligraphic the nose and cheeks.
manner in some areas, and splashes of water in others,
helped the painting look alive. I determined areas in which
I could lose edges, such as those around the hat and the
shadow portions of the face. Lost edges can happen in
white-into-white areas or dark-into-dark ones. Turn page for final step
demo “ C R E AT I V I T Y W O R K S H O P ”
S P O N S O R E D BY
Painting
Loose
Final Step
I added small details to
the lips and eyes, and
a few other areas, to
complete Come in From
the Cold (watercolor on
paper, 16x14). WA
Bev Jozwiak
(bevjozwiak.com)
is an international
award-winning artist,
a workshop instructor,
and a signature
member of the
American Watercolor
Society and
Watercolor West,
among others.
Try this at home

CREATE A PAINTING
USING JOZWIAK’S TIPS
FOR WORKING LOOSE.
Send a JPEG (with a resolution of 72 dpi) of your finished painting to wcamag@fwmedia.com with
“Creativity Workshop” in the subject line—or follow @artistsnetwork on Instagram and share your painting
there: #everywatercolor. The “editor’s choice” will receive a LEGION Artist Pad Collection featuring a set of
11 different 9x12 artist pads, including Stonehenge, Lenox, YUPO and Stonehenge Aqua papers (retail value $275).
The entry deadline is April 15, 2018.

Anatomy of a Painting
The repetition of shapes is one means by

which Demuth unified the shattered planes
of his composition. The forms of triangular
rooftops are echoed in the church’s spire,
and rectangular windows and chimneys
are repeated throughout. Even the facets
of the sky synchronize with the buildings’
splintered geometry rather than offering
an atmospheric counterpoint.
After Sir
Christopher Wren
Take a deep dive into the technical and stylistic
choices behind CHARLES DEMUTH’s depiction
of an American scene.
By Jerry N. Weiss
c harles Demuth (1883-1935)

was an American modernist
painter, best known for his
watercolors. Though he was born and
resided most of his life in Lancaster,
though more naturalistic, watercolor
of the same view. The church build-
ing currently serves as the town’s
public library.
Although Demuth’s watercolors
While a wet-into-
wet technique is
often used to soften
transitions, Demuth
demonstrates here
Pa., he traveled widely, studying in often are characterized by delicate
Philadelphia and Paris, and vacation- color harmonies painted wet-into-wet, that subtle effects
also can be obtained
ing in such places as Bermuda and for this one he adopted a more severe with hard-edged
Provincetown, Mass. On frequent trips Precisionist approach. He employed painting. Of note
to New York and Europe, Demuth was a deliberate application of paint, are the gentle shifts
inspired by the work of his avant-garde which avoided the kind of sponta- of color and value.
contemporaries and assimilated some neous “accidents” for which watercolor The artist selectively
elements of Cubism into Precisionism, is known; included gouache; and placed similar
shades of off-white,
a new American style which the artist beefed up the surface by using card-
gray or ochre side
helped pioneer. board instead of paper. The format is by side, thereby
Demuth’s watercolors didn’t fit unusually large for a watercolor by the minimizing dramatic
easily into then-popular notions of artist, indicating the importance he impact in secondary
what was expected of the medium. ascribed to the painting. WA areas and preserving
Much of his painting was considered the dominant
delicate or foreign in style, but Jerry N. Weiss is a contributing writer contrast for the focal
point—the silhouette
the hard-edged Precisionism of his for fine art magazines and teaches at the of the steeple
cityscapes made use of European Art Students League of New York. against the sky.
influences to depict native subjects.
The title of the painting, After Sir
Christopher Wren, refers to the steeple
of Center Methodist Episcopal Church After Sir Christopher Wren
in Provincetown, which features a (1920; watercolor, gouache and
graphite on cardboard, 24x20)
baroque style reminiscent of the by Charles Demuth
English architect. In 1930, Edward
Hopper painted a remarkably similar,

Rather than fitting the entire
steeple on the page, Demuth
chose to crop the spire at the
very top. This helps to hold the
otherwise tilted and slightly
precarious structure in place.
A Cubist influence is conspicuous
in the fractured beams of light
from the sky as well as the
distorted multiple planes that
comprise the architectural
detail. Traditional perspective is
fragmented, but the overlapping
shapes ensure a comprehensible
illusion of space.
COLLECTION OF THE METROPOLITAN MUSEUM OF ART. BEQUEST OF SCOFIELD THAYER, 1982
One exception to the painting’s Thanks to a consistently low-key

strictly geometric shapes is a treetop palette, Demuth also used color
in the distance. It alone introduces harmony to unify the painting.
curvilinear lines to the design and Gray, tan and white tones recur
brings a spot of organic life to an and connect several levels of the
otherwise man-made landscape. ground plane and sky.
Watercolor Essentials
Rock Solid
Value and shape are the two
r ocks are hard! Kidding aside, drawing and painting
pebbles, rocks and boulders can be surprisingly diffi-
cult for—and extremely important to—the landscape
painter. My theory is that rocks are challenging to depict
realistically for several reasons, but primarily because we
tend to assume it will be easy to just “toss” a few rocks
most important elements into a landscape painting. Because of this, we don’t give
for minerals done right. them the attention they require, and they end up looking
out of place.
By Julie Gilbert Pollard THE KEYS TO REALISTIC ROCKS
Here’s the first key to painting rocks: Like every other
subject we paint, they’re comprised of simple shapes.
I always aim for a loose, painterly interpretation of a Handle them, hold them, and feel their weight, planes
scene, as in Creek at Briar Patch (watercolor on paper,
11x14). This doesn’t mean being careless when making and unyielding surfaces to become more familiar with
shapes; it means learning to capture the accuracy of the their properties.
most important shapes.

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Here’s the second key: When we paint those shapes, our

primary concern should be to render them using appropri-
ate values. Shape and value are the two most important
elements for realistic-looking rocks. Naturally, we’re going
to add color, but color, while immensely important, is sec-
ondary to shape and value.
A ROCK-Y STUDY
So, let’s look at shapes. First, gather some rocks to study.
This illustration shows two
Select a rock that has interesting shapes and planes.
1. Place that rock in front of you, positioning it, if possible,
so that you see a light-struck side, an out-of-light side and a
complete rocks, not
overlapped by each other,
other rocks or soil. The
cast shadow. Now examine it for the following features: broken line shows how far
• outside contour shape into the soil or sand they
• inside planes might be buried. That line
could also be a water line.
• light and shade, or value
• texture and cracks
Draw the rock and
2. its shadow.
This illustration shows how
much more realistic they look
and how much depth is
achieved when one rock is
placed in front of the other.
They’re partially submerged
by sand, and the bottom
edge is drawn so that it
suggests other rocks might
be in front.
Assemble several rocks of different sizes and

3. shapes into a still life. Make sure that, from your
vantage point, there are overlapping rocks.
Study the multiple rocks as you did the single rock.

4. Begin with a simple sketch and then proceed to a more
careful rendition of the composition. It might be helpful to
As you become more
comfortable with the subject,
you’ll learn how to imply
photograph your composition, print it, and then trace it so rocky ground, transitioning
that you can see more easily where the shapes fall on the from fully drawn rocks and
picture plane and where various shapes intersect one boulders to a loose
another. It’s often difficult to translate a three-dimensional suggestion of “rocky-ness,”
subject into a flat two-dimensional format. A reference as shown here.
photo, followed by tracing, can be an effective learning tool.
Most people seem to have the need to draw the entire rock, as if
they have X-ray vision and can see through the ground and other
rocks. If it helps you to do that to learn, you can erase the
unnecessary lines later to show just the part of the rock that’s
above ground. The key is to do whatever you need to do to get
the rocks drawn so that they overlap, partially buried in the soil.

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Paint over your pencil sketch,

5. as I did for this rock study
(watercolor on paper, 9x12).
Now for a field trip. If possible,

6. find a rocky area out in nature,
and apply what you’ve learned. If you
paint from photos, you can also apply
these lessons.
Focus on rocks and boulders sur-
rounded by very little foliage or other
distracting elements for a few paint-
ings. Little by little, find a balance
between drawing just enough to
capture the character and personality
of a rock, and putting in every little One thing I’ve found when painting rocks is that, while they may
crack and detail. Too stylized and be quite rounded in nature, they may not look hard and “rocky”
non-individualized, and rocks begin if we render them exactly as we see them. When I have a roundish
to look like potatoes and popcorn. rock in my reference, I’ll “shave off” some of the roundness to
Too realistic, and you’ll lose the loose, give that rock slightly more angularity. This enables me to retain
painterly quality. Work to capture the much of the character of the rock while giving it a “less-soft”
appearance. Likewise, I often need to stylize or take a bit
shapes, angles, planes, textures, over- of artistic license when rocks are oddly shaped.
lapping shapes, colors and cracks.
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For Autumn Lane (at right;
watercolor on paper, 11x14),
I chose to “lock in” some
of the crevices between the rocks
with diluted acrylic fluid. I used it
like watercolor so that I wouldn’t
lose my drawing when I laid in very
wet washes of watercolor.
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In this drawing of a scene

composed mostly of rocks
and boulders, I’ve given a lot
of attention to the contour
shapes of each, making them
asymmetrical even if they
weren’t. This helps to create
interesting rocks. Additionally,
you can see where the
principle of “overlap,” as
shown in Autumn Lane
(on page 23), is used. When
one shape overlaps another,
depth is achieved—an
important feature of rocks
in the landscape. Without
enough overlap, the rocks
would resemble a wall more
than a rock bed.
To paint these rocks, I used

a technique I call “acrylic
underpinnings.” I used diluted
acrylic fluid even further so
that it looks like traditional
watercolor. Acrylic used
transparently like watercolor
won’t dissolve with subsequent
washes. If I were to use
traditional watercolor in dark
values to begin the painting,
I’d get muddy colors.

Think of using acrylic underpinnings
to lock in dark accents and the
composition as we use liquid mask
to lock in the whites. Once in place,
these value underpinnings enabled
me to paint freely and loosely, using
wet washes that don’t have to “stay
between the lines,” because the
composition of lights and darks
are “locked in.”
At this point in the painting,

I proceeded with traditional
watercolor methods, exaggerating
color, atmosphere and the sun hitting
the tops of the rocks. I find it effective
to keep the tops of the rocks as mostly
the white of the paper, breaking the
edge here and there with light value
color, medium tones for the bulk of
the rocks and very dark crevices
beneath and between them.
In many cases, I find that it’s better to

apply some artistic license to enhance
the color of the rocks, as was the case
in the red rocks in Sedona Reds
(watercolor on paper, 11x14). WA
Julie Gilbert Pollard

(juliegilbertpollard) is the
author of three books, including
Watercolor Unleashed (North
Light Books, 2013), and the
instructor of nine art videos
(ArtistsNetwork.tv). She’s a
signature member of the San Diego
Watercolor Society and Arizona
Watercolor Association. Her
award-winning work is in many
private and corporate collections
throughout the world.
Art sts ARTISTSNETWORK.COM
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your work!
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artistsnetwork.com/the-artists-magazine-annual-competition
Watercolor
25
Anniversary
Where were you when Watercolor Magic splashed onto the scene
th
in 1993? Bill Clinton was in the White House; Jurassic Park and Sleepless
in Seattle showed on the big screen; Whitney Houston had the No. 1 song;
and Beanie Babies captivated a nation of kids—and collectors. The year
also saw the launch of a new magazine dedicated to the art of
watercolor. The magazine soon changed its frequency (from quarterly
to bimonthly), and later, in 2008, it changed its name to Watercolor Artist,
but the mission has remained unaltered: to inspire, inform and
instruct artists and to celebrate the very best work being done in
watermedia today.
25
Anniversary
th
25
@25
TO MARK THIS SIGNIFICANT
ANNIVERSARY, WE SEARCHED
THE MAGAZINE’S BOUNTIFUL
ARCHIVES TO SELECT 25
EXCEPTIONAL WATERCOLOR
PAINTINGS TO ADMIRE ALL
OVER AGAIN.
By Anne Hevener
I
t’s hard to calculate inspiration, but if you simply estimate the number of paintings that
have appeared in the pages of this magazine in 25 years, the potential inspiration
becomes a staggering sum. Consider that each issue presents roughly 50 painting repro-
ductions—that means the publication has shared approximately 6,500 works of
watermedia over the course of its history so far.
How, then, to choose just 25? Well, not easily! Our final picks include works by famous
artists and beloved instructors as well as painters who were, at the time, at the cusp of their
careers. Our choices intentionally reflect a wide range of styles and subjects, thus creating a
collection that celebrates the tremendous diversity of expression we have always seen—and
continue to see—in the medium and in these pages.

1
FRANK WEBB
Bideford (watercolor on paper, 22x30)
“Painting is a bridge
“When I work on location,” says Webb, “I recast the
landscape, imbuing the facts before me with the
between what’s inside the
qualities I think are important in a painting. In artist and what’s outside,
general, I use intense colors, which are completely
arbitrary, having no reference to the local color. But, a way of objectifying the
for me, the shapes are the most important element.
Good shapes must be created; they can’t be copied.” subjective.” –FRANK WEBB
25 th
2
Anniversary TONY COUCH
October Russet (watercolor on paper, 20x33)
To paint autumn foliage, like that seen in October Russet, Couch sticks to a range of warm
colors—from red to yellow/green. To keep his colors bright, he places complementary
colors near one another on the paper, but doesn’t mix the complements, which would
create a dull gray.
3
CHENG-KEE CHEE
Koi 98, No. 1 (watercolor on
paper, 30x40)
Paintings like Chee’s Koi 98,

No. 1 come to life as an
expressive, intuitive
abstraction filled with the
surprises and accidental
happenings that
characterize wet-into-wet
painting. Colors blend and
follow their own laws, and
the paint is allowed to work
for itself. Following that,
the painting process moves
into a more conscious and
structured phase.

“If you can’t see something, don’t
paint it. Students too often try to
paint something that isn’t there,
thinking that by defining it more,
it will look more real. Not true! This
isn’t how we see things; you have
to let things swim into the shadows.”
–MARY WHYTE
4
MARY WHYTE
Lily Sleeping (watercolor on paper,
26x21)
“My goal for Lily Sleeping was to

re-create the quality of light on Lily’s
face as well as a feeling of safety and
warmth,” says Whyte. “I also wanted
to capture the look and feel of a
child’s dream. To suggest the pattern
of the quilt, I laid down washes, then
dabbed in places with crinkled plastic
wrap. To create an otherworldly,
dreamlike effect, I dropped pieces of
yarn into the background as well as
pieces of paper towel I had cut into
leaflike shapes.”
5
MILFORD ZORNES
The Wash (watercolor on
paper, 22x30)
According to Zornes (1908-

2008), line is the most
important graphic element
in a painting, followed by
value, then color. When
painting, he mentally
traced the progress of a line
in four ways: horizontal,
vertical, angular and
curved. “When I’m painting
a tree,” Zornes said, “I think
to myself, ‘OK, go vertical
out of the ground for the
first trunk. Stop. Curve into
the branches. Stop. Thrust
out at an angle for the
smaller branches. Stop.’ ”
25
Anniversary
th
“My goal is to simplify, not to complicate.” – JOSÉ APAZA
6
JOSÉ APAZA
Tenuousness (watercolor on
paper, 22x30)
The dim values in Peruvian-

born Mexican artist Apaza’s
Tenuousness reflect the
meditative state of the
figure. “Every human being
is a summary of universal
wisdom,” he says. “Humble
people are my greatest
teachers and have exerted
a great influence on me.”
7
EUGEN
CHISNICEAN
Camara de Lobos, Madeira,
Portugal (watercolor on paper,
17¾x25½)
“I painted Camara de Lobos,

Madeira, Portugal on
Madeira, a wonderful island
in the Atlantic Ocean,” says
Moldovan artist Chisnicean.
“It was such a different
world, unlike any place I’d
ever been. The scene had
everything I needed to make
a painting: mountains,
houses, boats, people.
I tried to combine all the
elements in a natural way
and to create harmony
between the shapes.”

8
PAUL JACKSON
Tapestry (watercolor on paper, 27x56)
Jackson took reference photos for his

large painting, Tapestry, while
standing on the observation deck of
the Empire State Building. “The
photos were shot at dusk,” he says,
“but they allowed me to keep track of
all the buildings. This isn’t photo-
graphic realism. Everything is in this
painting—all of my feelings about,
and memories of, New York City.”
9
JOSEPH RAFFAEL
Wind Song (watercolor on paper, 66x45)
The subject of Raffael’s Wind Song is

his garden, a constant source of
inspiration to the artist.
25
Anniversary
th
10
CAROLYN BRADY
Green Dot Jug With Sunflowers/Maine
(watercolor on paper, 30x22)
This striking still life by Brady (1937-2005)

demonstrates why the virtuoso colorist is considered
a master of contemporary American realism.
11
FREDERICK C. GRAFF
Foxy Lady II (watercolor on YUPO, 23x32)
“It’s essential that I go beyond just

recording facts and convey what
I see in an unrestricted, yet semi-
controlled, manner,” says Graff. “In Foxy
Lady II, for example, the complex array
of planes in the foreground suggests the
paraphernalia of a boatyard without
actually describing it in detail. Likewise,
the bluish-green masses in the
background give the impression of
a forest of pine trees.”

12
DENNY BOND
Equilibrium (watercolor on paper,
40x47)
“Equilibrium was composed while

dining in Jamestown, R.I.,” says
Bond. “I was originally attracted
to the light hitting the teal walls,
so I urged my wife to move into
the light but still leave room for
me to see the equestrian image
painted on the wall. … The story
created itself. All of the elements
were there; they just needed to be
brought together.”
13
JUDI BETTS
Stars and Stripes
In this soft and poetic

rendering, Betts uses the
primaries and their
complements. She exploits
a variety of shape, size
and value, creating lovely
neutrals in the
background of her
enchanting floral, Stars
and Stripes.
“Colors can be lullabies or symphonies, but what makes

them sing in either case is the position of complementary
colors. Colors surrounded by their complements cause an
explosion. It can be subtle or monumental.” – JUDI BETTS
25
Anniversary
th
14
DEAN MITCHELL
Damp Morning
10x15)
Mitchell manages to find

the quiet poetry in
subjects that may
otherwise be overlooked,
such as the down-at-
heel houses featured in
Damp Morning. The open
space in the center of
the composition forms a
place for the eye to rest
and meditate.
15
JOHN
SALMINEN
The Mall (watercolor on
paper, 29½x35)
“The cold winter

sunlight filtered
though a maze of
frost-covered limbs,
giving the scene for
The Mall a frigid
luminosity,” says
Salminen. “I used the
crowd of passersby to
add a sense of scale.”

16
DONGFENG LI
Girls On a Date (watercolor on YUPO, 30x22)
China-born artist Li, a professor of art at

Morehead State University, paints a variety of
subjects, including people of different ages and
backgrounds, like the young women featured in
Girls on a Date. In each case, the artist manages
to capture the humanity, grace and dignity of his
subject. “Their different backgrounds can create
interesting contexts,” he says. “I’m curious about
these differences, so it’s one of my primary
motivations in creating my work.”
“Explore your own visual

vocabulary and use your heart
and soul when creating your art.”
–DONGFENG LI
17
IAN RAMSEY
Winter Road
The white paper, or snow,

became the platform of
Ramsey’s painting, Winter Road,
a scene in southern Wyoming.
Winter compositions rely
greatly on the negative space
provided by snow. The darker
elements of the grass banks,
ruts and background hills guide
the eye down the road to the
farm buildings.
25
Anniversary
th
18
FRANK FRANCESE
Mission District, Riverside
21x29)
“There’s a little magic

in Mission District,
Riverside,” says Francese.
“It doesn’t happen for me
all the time. It happens
more if I just let myself go
and trust my judgment
and my heart. I choose
color based on emotional
response—not on what’s
actually there. In fact,
I usually work from a
quick black-and-white
felt-tip field sketch. Then,
I just make up my own
colors as I paint.”
“I came to realize that all art springs from the same creative
well. I didn’t have to limit myself to one way of painting.”
– GEORGE JAMES
19
GEORGE JAMES
In Shine Mirror
(watercolor on YUPO, 28x37)
James (1932-2016) painted

In Shine Mirror after the
death of his father, to
memorialize him in a
portrait. “Instead of
creating an exact likeness,”
James said, “I tried to
capture his essence by
leaving out the face. I used
the mirrors to imply
spirituality and reflection.”

20
SCOTT BURDICK
Michelle (watercolor on paper, 27x20)
Burdick’s painting, Michelle, is an example of a painting

in which the idea came first. “The vision I had of this
painting was so clear,” Burdick says. “I even did a sketch
of it before the photo session to help Michelle understand
the mood I was after— that split second of rising in
expectation as someone enters a room. The rest is left up
to the viewer’s imagination.”
CHRISTINE COZIC
Bewitching Branches, Backwoods V
(watercolor on paper, 29½x41½)
This painting, part of a series of eight,

was a departure for the artist when she
21
began it in 2006. “I had done botanicals,
but they were more tropical flowers,”
Cozic says. The 45-minute drive to her
daughter’s school in Northern Louisiana
each day introduced the artist to “all
these gorgeous colors on the trees.”
25
Anniversary
th
22
STANISLAW ZOLADZ
Fjord Dal (watercolor on paper, 22x30)
“In April and May, after a long winter, the light comes back
to Norway with force,” says the Polish-born Swedish painter
Zoladz. The snow-covered mountaintops and white patches
of snow in the foreground contribute a balance of shapes in
the composition.
23
SERGE
HOLLENBACH
Fishermen, Myrtle
Beach, S.C.
(watercolor on
paper, 8x10)
Five fishermen are

linked in value to
the slats of the
fence on the pier,
balancing the
verticals against
a strong horizontal
in Hollenbach’s
delightful painting.

24
CHARLES REID
Urchfront Flowers
22x24)
“Beginnings are more

important than
finishes,” says Reid.
“Sometimes you’re so
keen to paint a flower
accurately, you become
tight and literal. The
trick is to allow your
paint and a little
water to do the
painting for you.”
“As artists, we try to paint

what we see rather than
what we think we see.”
–JEAN PEDERSON
25
JEAN PEDERSON
The Red Sweater (watercolor on paper,
14x11)
“Though starting a new life in Canada,

this young man hasn’t forsaken his
identity as Ugandan,” says Pederson of
her painting subject. “For many
immigrants, melancholy accompanies
hope—a feeling I tried to convey in The
Red Sweater.” WA
25
Anniversary
th
THEN
now
As Watercolor Artist celebrates its 25th anniversary, we asked three renowned
watercolor artists—Michael Reardon, Laurin McCracken and Birgit O’Connor—
to reflect on the changes they’ve made and experienced over the years that have
contributed to their successful careers. We also share some of the innovations and
milestones achieved in the medium during the past quarter-century.
By Beth Williams
THEN:
Yellow Daylily (2003;
watercolor on paper, 20x28)
by Laurin McCracken

Watercolor Artist (WA): How has your work
changed conceptually over the years? How,
if at all, has your painting process changed? THE ARTISTS
Michael Reardon: Twenty-five years ago, I had only Fort Worth, Texas-based
been painting in watercolor for a few years. At that artist Laurin McCracken
time, I was still experimenting with paints, brushes (lauringallery.com)
and papers while trying to figure out how to paint combines many of the
in the medium. I was primarily a plein air painter, skills he learned as an
architect with his
focusing principally on the faithful depiction of
experiences of traveling
the scene in front of me. As I learned to be more
and studying art history,
technically consistent, I became less concerned drawing and
with accuracy and focused more on mood, light photography. He studied at Auburn University
and composition. and holds a bachelor’s of arts and a bachelor’s
of architecture from Rice University, and a
Laurin McCracken: When I began painting 15 years master’s in architecture and urban planning
ago, I painted flowers. I used them as a subject that from Princeton University. He’s a signature
would force me to refine my watercolor technique. member of more than a dozen watercolor
They had curved surfaces, a lot of color and challeng- societies, including the American Watercolor
ing textures. Even though these paintings Society, National Watercolor Society,
were accepted into competi- Transparent Watercolor Society of America,
tions and won awards, Southern Watercolor Society, Watercolor West
I realized that if I wanted
to differentiate myself in INNOVATION and Watercolor USA Honor Society. He’s an
elected member of the Allied Artists of America
the profession, I needed to
find subject matter that was
YUPO in its watermedia category.
more personal to me. YUPO is a 100-percent Avid traveler Michael

I recalled that the paint- recyclable, waterproof, Reardon (mreardon.
ings that appealed to me the tree-free synthetic paper com), of Oakland, Calif.,
most as I visited museums that became available in uses watercolor to
the United States in the record his observations,
around the world were the early 2000s. The bright- convey a sense of place
works of the 16th- and white, super-smooth and light, and
17th-century Dutch and surface won’t tear and communicate his
Flemish still life painters. wipes clean. Because the
impressions of built,
I asked myself if I could take surface is waterproof, it’s natural, and imagined worlds. With a degree
the basics of what they were ideal for watercolor in architecture from UC Berkeley, he was an
painters who want to lift
doing and re-create them in paint easily from the architectural illustrator for more than 30 years.
watercolor. I was drawn to surface or cut lights into He’s a signature member of the American
their level of realism and darks. And, because there’s Watercolor Society, the National Watercolor
wondered if it was possible no tooth to the paper, Society, Watercolor West and the California
to attain that in watercolor. paints remain vivid. Watercolor Association. Reardon is also the
That worked well for me. author of Watercolor Techniques: Painting Light &
Now I’m searching for a way to bring this level Color in Landscapes & Cityscapes (North Light
of realism to more contemporary subject matter. Books, 2016).
Birgit O’Connor: Over the years, I’ve gone from think- Birgit O’Connor
ing that I needed to paint everything I saw in all of (birgitoconnor.com), of
its detail, to simplifying and minimizing to focus on Bolinas, Calif., enjoys
what’s most important. For instance, when looking showing others how to
for potential compositions for paintings, my view the everyday world
approach isn’t necessarily what I “should” be looking in a new way by taking
what’s not first noticeable
for; instead, it’s more about how I feel at that time.
and bringing it into focus.
I may be attuned to color, the movement of the
The author of two books,
design, detailed focus or an overall vision. Watercolor Essentials and Watercolor in Motion
(both by North Light Books), she holds signature
WA: How have the materials you’ve used membership in the Louisiana Watercolor Society
changed? Have you added new-to-you and the California Watercolor Society.
mediums or embraced new products?
25
Anniversary
th
It’s one of the whitest papers pro-
duced and gives the glass and metal
I paint the sparkle I want to share
with my viewers.
O’Connor: I’ve never been a fan of

lifting or masking, but over years of
teaching, I’ve found that the original
Mr. Clean Magic Eraser can—with
just minor fixes—transform a paint-
ing from something I think isn’t
working to something that’s dramati-
cally different; it’s been a great tool.
I’ve also really enjoyed trying differ-
ent-sized paper surfaces, such as a
harder-sized surface that can take more
abuse compared to the softer-sized
papers that are a little more delicate,
which produce entirely different results.
WA: How is life as an artist

different today—for better or worse—
than in 1993? What has been
the most beneficial change for
you? Has anything felt more
like a drawback?
Reardon: In 1993, I was balancing a
career as an architectural illustrator with
my painting life. The illustration career
NOW: Still Life With Drawer Handle paid the bills and usually won out. For
(2016; watercolor on paper, 20x20)
by Laurin McCracken INNOVATION the past five years, I’ve been fortunate to
be able to concentrate full time on paint-
ing, which has been extremely beneficial
Quinacridone Paints to my growth as an artist.
Reardon: My watercolor tools have One of the most impactful Social media, which was unheard of
changed little since the mid-1990s, scientific breakthroughs in the in 1993, has allowed artists to share
when I switched my palette to Daniel medium, according to McCracken, their work among themselves and a
Smith. Watercolor is sufficiently chal- has been the introduction of large audience. There’s now a virtual
lenging in itself, so I stick with the pigments that have come from community of painters, and I’m now
nontraditional sources such as the
paints and paper I know, preferring to chemistry laboratory and the car
familiar with the work of many artists
concentrate on other aspects of paint- industry. “Quinacridone paints who would have been unknown to me.
ing rather than on technique. After are an example of this,” he says. Color reproduction also has
using cold-pressed paper for most of “They’ve brought a new range of changed considerably since 1993.
my 30 years of painting, I now use colors and an intensity not Instantaneous scans and digital
Saunders Waterford rough paper previously available.” photos have replaced poor-quality
because its traditionally applied sizing images from color negatives or slides.
lets washes flow very nicely. The rough
finish, somewhat counterintuitively, McCracken: The primary change in the McCracken: I took my first watercolor
yields even smoother washes than materials I use has come from learning lesson the year I turned 60, in 2001,
cold press. more about the quality and consis- and I’ve seen changes in the 10 years
The most significant change in tency of the manufacturers of these that I’ve been painting professionally.
materials is my choice of brushes. materials. This has led me to use mate- The focus on the quality of the art has
For most of my painting career, rials from those that I know are increased significantly. The interna-
I only used sable brushes, finding committed to the quality of their prod- tional watercolor exhibitions have
synthetics and blends unsatisfactory; ucts, such as Daniel Smith and Escoda. shown us what the rest of the world is
however, there are now synthetic I also decided that Fabriano’s doing. And, the competition to get into
brushes that rival sable, so I now Artistico soft-pressed paper was best these exhibitions has forced everyone
use them almost exclusively. suited to my approach to watercolor. to raise both the artistic quality of

their approach to painting and the
technical skills with which we produce
our ideas on paper.
The biggest impediment to artists
having a successful career working in
this medium continues to be the price
point of watercolors as opposed to BELOW
acrylics and oils in the galleries. It has THEN:
been a challenge for our profession Summertime Pond
since the time of J.M.W. Turner. While (1997; watercolor
on paper, 9x5) by
I’ve seen the market prices begin to Michael Reardon
rise, the last recession hurt the overall
market around the world, and it has RIGHT
struggled to recover. NOW: The Domes
of San Marco
(2016; watercolor
O’Connor: One big difference is that on paper, 20x10) by
it’s now so much easier to build Michael Reardon
MILESTONE
AWS 150TH ANNIVERSARY

The American Watercolor Society (AWS)—the oldest
watercolor society in the United States—celebrated
its 150th anniversary in 2017. Its mission is to promote
and to offer education about watercolor. Since its
inception, AWS has had many famous artists in its
membership. Included in this distinguished company
are notables such as Winslow Homer, Edward Hopper,
William Merritt Chase, Thomas Eakins, Samuel
Colman, Charles Burchfield, Gladys Rockmore Davis,
Childe Hassam, John LaFarge and Edward Potthast,
among many others.
25
Anniversary
th
INNOVATION
Technology
The World Wide Web technology
became freely usable for everyone
in the early ’90s. Since its life-
changing advent, watercolor
artists have been able to go online
to purchase supplies; take classes
and watch instructional video;
share, market and sell their work
more widely; connect to and build
community with other artists
across the globe; and enter
worldwide competitions—all with
the stroke of a few computer keys.
a photo reference library. We’re no

longer limited to a roll of expensive
film and then having to pay process-
ing fees and wait a week for printed
pictures to be developed.
With smartphones and digital
cameras, reference photos are instanta-
neous and readily available. They’re easy
to store and file, too, thanks to SD cards,
external hard drives and the cloud. No
more bulky prints to store and file!
This streamlined process also helps
when submitting to galleries. In
the past, artists needed to send a
portfolio with a sheet of slides and
promotional material. Today, depend-
ing on the galleries’ submission
process, it can be done digitally.
WA: What was your biggest art

career breakthrough?
Reardon: There have been so many,
but I’d have to single out the Gabriel
Prize that I received in 2005. This
fellowship allowed me to spend three
months painting in Paris. Painting
virtually every day for three months
without any commercial constraints
MILESTONE allowed me to experiment and
fine-tune my painting style. It also
permitted me to consider a complete
INTERNATIONAL EXHIBITIONS transition from an illustrator/painter
to a full-time painter.
International competitions and exhibitions have welcomed watercolorists
with open arms and have promoted the medium across the globe. Of note O’Connor: When it comes to expand-
is the Beijing International Art Biennale, or Beijing Biennale, that was initiated ing what I love to do, which is both
in 2003 and is sponsored jointly by the China Federation of Literary and Art
Circles, the Government of Beijing Municipality and the China Artists painting and teaching, one of the
Association. In addition, the Shenzhen International Watercolour Biennial, most exciting things that I’m now
which first took place in 2013, is one of the largest and most prestigious offering is interactive online courses.
exhibitions in the world. Within this format, in the comfort

of the students’ home, they can inter-
act with me and other students for MILESTONE
painting reviews, discussions and
demonstrationss. It’s been a lot of fun.
WA: What do you know now that

A GLOBAL SHOWING
you wish you had known as a Proving that art is indeed universal, the Missouri Watercolor Society will be
younger artist just starting out? the first U.S. watercolor society to host an international watercolor exhibition
in another country. The 2018 International Juried and Judged Exhibition will
Reardon: Watercolor really stumped me be held from June 19 to July 5 at Quingdao Laotian Museum in China. (Entries
are being accepted until Feb. 15.) A 17-day sightseeing and watercolor
when I was starting out. There were
painting tour of China from June 21 to July 6 is also part of the event.
many times that I almost gave up. But, For more information about the exhibition and the tour, visit MOWSART.COM.
I eventually got enough experience with
it that I was better able to understand
how to use it: making darks, paint-to- skill. If you can’t see the composition, belong in the art world. Just get
water ratios, brushstrokes, etc. you can’t draw it. If you can’t see started and don’t get stuck in someone
While I wish that I had understood details and texture sufficiently to draw else’s idea of where you should be. The
these technical aspects more quickly, them, you won’t be able to paint them best advice I could give is to follow
I now recognize that the process of successfully. How to re-create what you your intuition. If being a successful
painting is what matters most. I wish see and present it to your viewer artist is what you want, then don’t give
I had understood that more fully begins and ends with your ability up. The road has a lot of turns, so be
when I was first learning watercolor. to draw. tenacious. If you have a dream without
action, nothing happens.
McCracken: Let me turn that question O’Connor: The hurdle to overcome is I’d also say: Be kind and work with
around and reply with what I brought your belief system. If you think you others; you don’t need to climb over
from my youth that has served me well can, you will; if you think you can’t, anyone or have an attitude. You won’t
as a watercolorist—the love of drawing you won’t; and if you think you aren’t get there faster—and it won’t make
and the understanding of how import- ready yet, you may never be. If, for you a better artist. Do what you love.
ant it is in creating art of any kind. In instance, you believe that to be a It’s your journey; enjoy the ride. WA
the workshops I teach, it’s the skill that successful artist you need to be
I see that’s most lacking. Drawing isn’t starving, then that’s what you’ll do. Beth Williams is senior editor of
just a motor skill; it’s foremost a seeing You don’t need to assign where you Watercolor Artist.
OPPOSITE
THEN: Iris Garden
(1993; watercolor on
paper, 40x25¾)
by Birgit O’Connor
LEFT
NOW: Amazing
Grace (2012;
watercolor on paper,
15x22) by Birgit
O’Connor
25
Anniversary
th
John James
7
Audubon
(AMERICAN, 1785–1851)
Seven vivid birds perch with outstretched
wings, bobbing heads and chattering beaks.
The only parrot species native to the United
States, the Carolina parakeet became extinct
less than 100 years after John James Audubon
portrayed it. Roberta J.M. Olson, Curator of
Drawings at The New-York Historical Society,
Wonders
says, “Audubon’s brilliant depiction best pre-
serves the vivacity of the species.” Audubon
made this dynamic watercolor for The Birds of
America, a book that revolutionized ornitho-
logical illustration. No one before him had
portrayed birds at life-size, in action, sur-
rounded by their natural habitat.
of the Working over a period of 19 years to depict

every avian species in America, Audubon cre-
Watercolor
ated 435 watercolors, all of which are held in
the collection of The New-York Historical
Society. The watercolors were printed as
hand-colored lithographs. In the process, he
developed innovative watercolor methods.
World
According to Olson, “Audubon experimented
with novel techniques in modeling, collaging
and mixing media—including metallic pig-
ments—and is considered America’s first great
watercolorist.” The Carolina parakeets exem-
plify his bold and skillful use of multiple media.
“With a deft stratigraphy of layers of water-
By Tamera Lenz Muente
color, gouache and pastel … and thousands of
parallel strokes, Audubon suggested the tex-
tures of their plumage.” Olson continues, “In a
tour de force of draftsmanship, he drew in
To celebrate the vibrancy of watercolor graphite over the watercolor every shaft and
and its impact in the art world, we went barb. These graphite lines now represent the
shimmering iridescence once seen in nature,
to seven American and British museums when the extinct species moved in the light.”
and asked a curator to select a significant Because of Audubon’s dedication to scien-
watercolor from its collection. Although tific observation and the experimental use of
watercolor, his birds practically fly off the page.
their choices represent only a small
sample of the watercolor masterpieces in
Carolina Parakeet (Conuropsis
existence, these paintings encapsulate carolinensis), Study for Havell pl. 26
the evolution of the medium through the (ca. 1825; watercolor, graphite,
pastel, gouache and black ink with
19th and 20th centuries. The following scraping and selective glazing on
artists embraced what initially was paper, laid on card, 29¾x21¼)
exclusively an illustrative and topographic Selected by Roberta J.M. Olson,

medium and took it to increasingly Ph.D., Curator of Drawings, The
experimental and expressive heights. New-York Historical Society

COLLECTION OF THE NEW-YORK HISTORICAL SOCIETY, NEW YORK. PURCHASED FOR THE SOCIETY BY PUBLIC SUBSCRIPTION FROM MRS. JOHN J. AUDUBON, 1863.17.26. DIGITAL IMAGE CREATED BY OPPENHEIMER EDITIONS
25
Anniversary
th
Richard Parkes Bonington

(BRITISH, 1802–1828)
Milan: Interior of Sant’ Ambrogio Richard Parkes Bonington portrayed the “Bonington took some liberties by exag-
(1827; watercolor and bodycolor austere interior of the medieval Basilica gerating the Gothic features, which must
with gum and varnish on paper,
8¾x11¼)
of St. Ambrose in Milan with earthy have especially appealed to him.”
colors. He carefully depicted the soaring Bonington frequently sketched on loca-
Selected by Dr. Lelia Packer, architecture in perspective, delineating tion in oil and reworked his subjects into
Acting Curator of Paintings, the arches and pillars, while still allowing finished watercolors later in his studio.
Watercolours, Miniatures and the watercolor to flow more freely, por- According to Packer, Milan: Interior of
Manuscripts, The Wallace traying the aging stone surfaces. Sant’ Ambrogio was instrumental in the
Collection, London “Bonington combined watercolor with recent discovery and reattribution of an
bodycolor [opaque paint] and gum varnish oil sketch in the collection of the Kimbell
in the darker areas to create subtle transi- Art Museum in Fort Worth, Texas.
tions between light and dark,” describes “Careful comparison between the
Dr. Lelia Packer, The Wallace Collection’s Wallace’s watercolor and the Kimbell’s oil
Acting Curator of Paintings, Watercolours, sketch determined their close associa-
Miniatures and Manuscripts. “Bursts of tion,” says Packer. “Bonington remained
light animate the picture, as in the grill in relatively faithful to his [oil sketch], aside
the center and through the distant choir.” from altering the position of some of the
Although the work is a mostly accurate figures from the left to the right side of
portrayal of the cathedral, Packer says, the basilica.”
THE WALLACE COLLECTION, LONDON

THE MORGAN LIBRARY & MUSEUM, NEW YORK. THAW COLLECTION, 2006.52
J. M. W. Turner
(BRITISH, 1775–1851)
The Pass at St. Gotthard, Near Faido This turbulent watercolor represents Ruskin, one of Turner’s greatest champi-
(1843; watercolor over graphite, J.M.W. Turner’s fascination with the sub- ons. “Ruskin promptly commissioned this
1115⁄16x18½)
lime—nature at its most ferocious, finished watercolor from Turner, arguing
frightening and awe-inspiring. Near the that it was ‘the greatest work he produced
Selected by John Marciari,
lower right, a tiny wagon formed by a few in the last period of his art,’” says Marciari.
Charles W. Engelhard, Curator
strokes of reddish pigment provides a In The Pass at St. Gotthard, Near Faido,
and Department Head,
scale for the overwhelming scene. Steep Turner employed the brilliant techniques
Drawings and Prints, The
mountains tower over the traveler as that made him the most renowned
Morgan Library & Museum,
water crashes through the narrow pass. British watercolorist of the 19th century.
New York
Turner spent every summer between Describing the watercolor, Marciari says,
1840 and 1845 in Switzerland. According “Turner’s technique is as extraordinary
to John Marciari, the Morgan Library & as his vision, delineating the mountains
Museum’s Charles W. Engelhard Curator with layers of watercolor, scraping away
and Department Head, Drawings and layers of paint and paper, and then
Prints, “In 1842, Turner climbed the pass adding further layers of color and
above St. Gotthard and witnessed the gouache as he conveys the light, mist and
Ticino River in its spring torrent, when rushing water of the mountain pass.”
melting snow swelled the river.” When Turner even left behind fingerprints as
Turner returned to England with a sketch of he blended and blotted wet blue paint in
the scene, he showed it to the critic John the foreground.
25
Anniversary
th
Winslow Homer
(AMERICAN, 1836–1910)
Boy With Anchor (1873; watercolor Barefoot and wearing rolled-up trousers of pigment,” says Emily J. Peters,
and gouache with graphite, 7⅝x1311⁄16) and a straw hat, a boy sits on a large Curator of Prints and Drawings at The
anchor, facing away from the viewer. The Cleveland Museum of Art. “Remarkably
Selected by Emily J. Peters, sandy beach is dotted with smooth, economical in technique, it was drawn
Ph.D., Curator of Prints and round stones, and clouds build on the first in pencil and then executed with
Drawings, The Cleveland horizon. Earlier in his career, Winslow just a few colors.”
Museum of Art Homer had used watercolor washes in In post-Civil War art, children were
drawings for engravings and in prepara- not only seen as harbingers of a new
tory sketches for oil paintings, but it era, but also as symbols of the nation’s
wasn’t until 1873 that he made his first lost innocence. Homer’s Gloucester
watercolors for exhibition. That year, he watercolors share this undercurrent.
spent the summer in Gloucester, Mass., “In this watercolor, the anchor on
where he was inspired to draw and paint which a boy sits is a symbol of safety and
children playing on the beaches and stability,” remarks Peters. “It’s also con-
around the wharf. figured as a pointer, like an arrow
“This early watercolor by Winslow directing the viewer’s eye out to sea,
Homer is notable for its dramatic clarity where someday the boy will be forced to
of design and concise, forceful application make a dangerous livelihood.”
THE CLEVELAND MUSEUM OF ART, NORMAN O. STONE AND ELLA A. STONE MEMORIAL FUND 1954.128

BRANDYWINE RIVER MUSEUM OF ART, ANONYMOUS GIFT, 1983 © 2017 ANDREW WYETH/ARTISTS RIGHTS SOCIETY (ARS)
Andrew Wyeth
(AMERICAN, 1917–2009)
Monologue (1965; drybrush A disheveled African-American man sits Wyeth created this portrait using dry-
and watercolor on paper, in a chair in a dark room. Light filters brush, a technique that allowed him a
22¼x28½)
through a window, accentuating his deliberate approach. “I work in drybrush
facial features and wrinkled knuckles. when my emotion gets deep enough into a
Selected by Audrey Lewis,
His shirt peeks out from underneath a subject,” he once said. “I paint with a
Curator, Brandywine River
torn jacket, injecting a bit of blue into smaller brush, dip it into color, splay out
Museum of Art, Chadds
the otherwise earthy palette. The man is the brush and bristles, squeeze out a good
Ford, Penn.
Willard Snowden, who did odd jobs deal of the moisture, and color with my fin-
around Andrew Wyeth’s studio and gers so that there is only a very small
became a frequent model for the artist. amount of paint left.” He drybrushed to
According to Audrey Lewis, Curator at create a shadowy atmosphere with texture
the Brandywine River Museum of Art in and details throughout.
Chadds Ford, Penn., Wyeth’s hometown, “Texture, light and shadow play key roles
the title of this watercolor refers to in this painting,” notes Lewis, “with the
Snowden’s talkative nature while posing. light focused on Snowden—particularly his
Lewis says, “Surrounded by emptiness in expressive face and hands—against the
the large, barren room just outside darkness of the room.” Such contrasts often
Wyeth’s studio, he seems to be delivering gave Wyeth’s works, including Monologue,
a great speech to an unseen audience.” an intense, psychological mood.
25
Anniversary
th
GEORGIA O’KEEFFE MUSEUM, GIFT OF THE BURNETT FOUNDATION (1997.06.033) © GEORGIA O’KEEFFE MUSEUM
Georgia O’Keeffe
(AMERICAN, 1887–1986)
Evening Star No. VII (1917; watercolor In September 1916, 25-year-old Georgia Evening Star No. VII expresses O’Keeffe’s
on paper, 8⅞x11⅞) O’Keeffe stepped off a train in Canyon, experiences walking at twilight, when she
Texas, to head the art department at West admired the intensity of Venus rising. She
Selected by Carolyn Kastner, Texas Normal State College. The stark land- created the watercolor with washes of pri-
Ph.D., Curator, Georgia O’Keeffe scape and big sky that enveloped the small mary colors. A swath of deep blue suggests
Museum, Santa Fe, N.M. Texas town inspired the young art teacher. either the darkening sky or the shadowy
“O’Keeffe painted Evening Star No. VII land at dusk, which O’Keeffe compared to
toward the end of a sequence of eight the sea. In her autobiography, she wrote,
abstract landscapes, each one distinctly “We often walked away from the town in
responding to but not replicating the com- the late afternoon sun. … It was like the
position that came before,” says Carolyn ocean but it was wide, wide land. The
Kastner, Curator at the Georgia O’Keeffe evening star would be high in the sunset
Museum. “It’s one of 51 watercolors cre- sky when it was still broad daylight. That
ated by the artist while she was teaching in evening star fascinated me. … I had noth-
Canyon. It’s significant because it expresses ing but to walk into nowhere and the wide
her early passion for abstraction.” sunset space with the star.”

Samuel Palmer
(BRITISH, 1805–1881)
The Lonely Tower (1880; watercolor A leading British landscape painter of the “Palmer uses a combination of opaque
and gouache, 6⅝x9¼) Romantic period, Samuel Palmer was com- gouache and transparent watercolor to
missioned late in life to create a series of convey a mood of peaceful contemplation
Selected by Melinda McCurdy, large watercolors inspired by John through rich, velvety darks and warm high-
Associate Curator, British Art, Milton’s poetry. In The Lonely Tower, lights,” says Melinda McCurdy, Associate
Huntington Library, Art Palmer depicted a luminous and moody Curator of British Art at the Huntington
Collections, and Botanical nocturnal landscape. Two shepherds rest Library, Art Collections, and Botanical
Gardens, San Marino, Calif. as the rising crescent moon illuminates Gardens. “With fine, controlled brush-
the woolly backs of their sheep. A white strokes, the artist contrasts the cool white
owl flies out of the darkness above a deep light of the stars against the yellow glow
chasm. Nearby, an ox-drawn wagon tra- of the moon and the red and orange fires
verses a lane atop a stone wall. On a rocky burning in the tower’s window and the wag-
precipice in the distance, against the twi- on’s lantern.” Palmer worked on this series
light sky, stands the “lonely tower,” with a of watercolors, which he also produced as
single window lit by a presumably equally etchings, until his death in 1881. WA
lonely inhabitant. The imaginative scene
evokes just a few lines from Milton’s “Il Tamera Lenz Muente is associate curator
Penseroso.” The watercolor captures the of the Taft Museum of Art in Cincinnati
poem’s melancholic atmosphere, a hall- and a regular contributing writer to
mark of Romanticism. Watercolor Artist.
HUNTINGTON LIBRARY, ART COLLECTIONS, AND BOTANICAL GARDENS. GILBERT DAVIS COLLECTION, 59.55.984
A Day in the Life
THE FIGURAL SUBJECTS IN THE PAINTINGS OF
MARIO A. ROBINSON APPEAR CONTEMPLATIVE,
AS IF CAUGHT IN A MOMENT OF REFLECTION
IN THE MIDST OF THEIR EVERYDAY LIVES. SPEND
A DAY WITH THE ARTIST TO SEE WHAT KINDS
OF ACTIVITIES NOURISH HIS OWN INNER LIFE.
PHOTOS COURESY OF STEPHEN BAUMAN, MARIO A. ROBINSON

1.hourMychecking
day begins at 6:30 a.m. I spend about an
Instagram, Facebook and other
social media sites—with coffee in hand, of course.
AND SALMAGUNDI CLUB

“ I relish the challenge of
painting outdoors, on location.
The shifting light and effects of
the elements force me to work
with an intense focus.
”
3.Dakota
I enjoy interacting with models.
and I worked together to
choose a compelling pose for my
watercolor study.
My cruiser is my
2.
main mode of
transportation during
the warmer months.
On this day, I packed
up my painting kit and
rode to the New Jersey
shore for a beachfront
painting session.

4. I’ve been playing the role of model
myself for my friend Jordan Sokol, the
director and principal instructor at the
Florence Academy of Art in Jersey City. I try
to arrive for our afternoon session 15 to 20
minutes early, so I can spend some time with
the 19th-century works of art in the space.
“
Lock into your mission
and passion, and don’t
worry about what everyone
else is doing.
” 5. I’ve been posing for
Jordan every Wednesday
for several weeks.
The finished portrait will be
included in his solo exhibition
at Arcadia Contemporary in
Los Angeles.
Mario A. Robinson
(marioarobinson.com) works
in both watercolor and pastel
to create his award-winning
and widely collected
paintings. The artist has been
featured in numerous fine art
publications and in
instructional videos for
ArtistsNetwork.tv. He’s also
the author of the book,
6. My day ended with a three-hour
demo with a live model at the
Lessons in Realistic
Watercolor. Robinson taught
Salmagundi Club in Manhattan. a class on painting the figure
The event was held in conjunction in watercolor at Pratt
with the American Masters exhibition Institute in Brooklyn last fall.
in which my work was included. He also offers regular
workshops; his latest will take
place in Croatia this spring.
What Lies
BENEATH
DRAWING UPON SOLID COMPOSITIONAL PRINCIPLES,
LUMINOUS LAYERING AND RICH BACKSTORIES,
DEBRA EDGERTON’S REVEALING PORTRAITS HINT
AT SOMETHING BELOW THE SURFACE.
By Louise B. Hafesh
I
don’t know what it is about the human fledgling painter signed up for a watercolor class
form that draws me to it. I’ve been working before her senior year. She’d later go on to experi-
with it for so long that it has become sec- ment in oil, acrylic, gouache and tempera. Edgerton
ond nature,” says Debra Edgerton, the says, though, that “there’s something about water-
Arizona mixed-media artist known for her color that has been my greatest challenge and
luminous watercolor portraits. “For me, greatest comfort,” and as such, she has worked in the
each person has a story to tell that brings history, medium off and on for decades.
culture and time to his or her existence. A simple “When I was younger, I worked on the technical
image can have so much subtext because a person aspect of my work,” the artist says. “Then I went to
evolves subtly over time.” grad school, did a lot of reading and was forced to
think about why I was making art. Everything now
has some sort of history or backstory.”
THE GREATEST CHALLENGE—
AND COMFORT
Edgerton, whose active involvement in art also has PUTTING PAINT TO PAPER
evolved over time, fondly recalls watching her mom Edgerton photographs her subjects and has amassed
draw Sumi birds for her sister and herself when an extensive collection of reference material.
they were young. “My sister, Barbara, was an artist, “Whenever I travel, I’m shooting pictures and look-
too, and I tried to mimic the things ing at things in terms of subject
she did,” Edgerton says. “I’d also matter,” she says.“If I have multiple
draw faces from Celebrity Magazine. Edgerton is most proud of Gion images that I think will tell a story,
I guess I’ve always been interested in Matsuri, No. 4 (watercolor on then I’ll do several paintings.”
paper, 21x13½) from a technical
portrait and figurative work.” standpoint. “I usually avoid Discussing her painting approach,
That interest would continue patterns in fabric, but I think Edgerton says, “I like to sit with my
through high school, when the this turned out well,” she says. subject. It’s like getting to know a
“Surprisingly, Gion Matsuri,
No. 2 [watercolor on paper,
15x20½] is one of my favorite
paintings in the series,” From there, Edgerton does a spot highlights, but I love the trans-
Edgerton says. “It’s the painting slow, methodical buildup of layers. parent quality of watercolor.”
for which I didn’t adhere to the “Ironically, my favorite watercolors
photo reference. I also did by other artists are the ones that
more experimentation with
color and shapes.”
look quick and spontaneous. That’s APPLYING CREATIVE
not me, though,” she says. “I build PROBLEM-SOLVING
layers because I prefer transparency When it comes to editing her work,
in my darks. It might sound a bit Edgerton can be daring. “I think I’ve
person; you wonder whether he or she snobbish, but I hate to use straight probably used my trusty electric eraser
will become a friend. I test out my black and white out of the tube. I like on almost every painting I’ve created,”
paintings like I build a friendship— to see blacks mixed and the white of she says unapologetically. “Sometimes
slowly and methodically.” the paper used for lights. I don’t mind you can see where I’ve used it because
To that end, when working from
photos, Edgerton usually translates
them into value drawings first “so
I know how the lights and darks move
through the painting,” she says. She’ll
also do a color study, if she has time.
“More than anything, I’m looking for
Barring that, having prepared her a story that’s being told when I look
paper by saturating it and letting
it dry to remove the sizing, she at people. Sometimes it’s their story,
usually starts with an underpainting, but other times it’s mine, and I’m just
establishing a consistent color in
the work. seeing it through their eyes.”
A Journey of
Self-Discovery
One of the many storylines that
Edgerton has explored through
watercolor is her Japanese heritage
(she’s half Japanese-American, half
African-American). She has combined
memories of traditions honored in
her household into her “Gion
Matsuri” series. (“Matsuri” is the
Japanese word for “festival.”)
“Growing up, I remember my
mom’s kimono, the Japanese dolls in
the house and the tea service on the
coffee table,” Edgerton says. “Also,
a lot of my work in grad school
revolved around race and ethnicity.
In fact, my thesis featured a folktale
I wrote about the journey of a
woman trying to discover her roots.
It was based loosely on my own
journey of self-discovery.”
While working on a collaborative
exhibition at the Museum of Northern
Arizona, Edgerton was accepted for
a fellowship at Kansai University in
Osaka, Japan. It was a fortuitous
opportunity—and a key factor in her
artistic development.
Recalling how visiting her mother’s
homeland inspired a succession of
striking portraits of Japanese
children, Edgerton says, “It was the
first time I had ever visited Japan—
and the first of three trips I’ve taken
now. My fellowship was based on the
different traditions of storytelling,
and since it occurred during the
spring and summer, I attended as
many matsuri as I could.”
The first in Edgerton’s series,

Gion Matsuri, No. 1
helped her establish the
color palette for the
paintings that followed.
Artist’s Toolkit
PAPER
• Winsor & Newton 140-lb. cold-
pressed paper, usually natural
PAINT
• cadmium red light, cadmium
yellow light, alizarin crimson,
ultramarine blue, Indian red, burnt
umber, raw umber, burnt sienna,
raw sienna, cobalt blue, dioxazine
violet. “I used to use Winsor &
Newton paints almost exclusively,
but lately I’ve been trying out
Daniel Smith as my paints run out.”
BRUSHES
• Beste for heavy-duty work, Scharff
for finesse
I like the texture it leaves behind;

it’s there like brush and paint. I don’t
have a problem with going back into
a painting and removing what doesn’t
work. That’s all part of problem-
solving.” The artist says this is her
favorite part of the creative process.
“I love being able to solve a prob-
lem such as the unexpected qualities
that happen with the paint,” she says.
“That can mean walking away from a
painting for months so I can then go
back with a fresh eye and a fearless-
ness to experiment. I was painting
recently and determined that the
ABOVE piece just wasn’t working. I decided to
“I’ve always felt fortunate approach it as a large color rough, fin-
when I get to work with an ish it that way and then use it as the
expectant model who is reference for a new painting.”
willing to share that intimacy
with my classes,” the artist
says of Eight Months
(watercolor on paper, 13½x10). BELOW THE SURFACE
“There’s usually something more
RIGHT
“I love all the folds in the fabric
going on than what you see on the
in Conflict [watercolor on surface,” Edgerton says. This is true of
paper, 19x13½],” Edgerton a profoundly personal series featuring
says. “They represent aging Conflict (at left) and Resolution (on
and being swallowed up by page 65). The two paintings work
that process.”
as a pair and are based on the last
visit Edgerton’s family had with her
mother-in-law, Marge, before she
passed away.
“There was a shift in Marge’s
demeanor after we arrived—agitation
on the first day, followed by a slow
realization of the family surrounding

“Linda [watercolor on paper,
13x20] features a homeless
her that transitioned into accep- “More than anything, I’m looking woman I used to encounter
on my bus route in San
tance,” the artist says. for a story that’s being told when I look Francisco,” Edgerton says.
“I teach my students about breathing at people. Sometimes it’s their story, “She had a silent grace.”
room within a composition to achieve but other times it’s mine, and I’m just
quiet harmony,” says Edgerton, who’s seeing it through their eyes.”
an art instructor at Northern Arizona
University. “In contrast, zooming in Louise B. Hafesh (louisebhafesh.com
and cropping what’s in a frame can and paintersportal.blogspot.com) is
make the viewer feel trapped in the an award-winning artist and frequent
environment with the subject. My aim contributor to Watercolor Artist. Turn for a demo
in Conflict was to create that tension. In
Resolution, however, I countered the
closer view by pulling back. I put more
space around the figure, enabling the
Meet the Artist
image to breathe.” Debra Edgerton (debraedgertonart.weebly.com) is a
Senior Lecturer for the School of Art at Northern
Arizona University. She’s a signature member of the
THE HUMAN American Watercolor Society, National Watercolor
CONNECTION Society, and lifetime member of the Transparent
Watercolor Society of America. Her recent watercolor
Looking ahead, Edgerton is intent on paintings have been awarded the High Wind Medal,
PHOTO COURTESY OF JACOB BLICKENSTAFF
keeping her work organic; she enjoys Edgar A. Whitney Memorial Award, Henry and Fujiko
the challenge of not knowing what Fukuhara Memorial Award, Jeanne Heartsill Memorial
her next idea or painting will be. Award, and the Nora Stephens Founder’s Award.
“I consider myself a cynical romantic,” Edgerton exhibited in the Shenzhen International Watercolour Biennial
she says. “I deal in facts and layers and traveling exhibition where her painting, Gion Matsuri, No. 2, was
displayed in museums in Jiangsu, Hubei, Zhejiang and Guangxi provinces.
upon layers of research, but I’m She has received numerous grants, including the Arizona Commission
always looking for the human element on the Arts Project Grant, the Contemporary Forum Artist Grant, Elizabeth
that we all connect to. That’s what Graham Foundation Grant, and a Kansai Research Grant where she was
I hope will spill over into my art. a visiting scholar working on visual storytelling in Osaka, Japan.
demo
Finding Resolution
“My mother-in-law, Marge, passed away this past summer,” Edgerton says.
“During the family’s last visit with her, I noticed a transition from agitation
to acceptance, as if she was at peace with family coming together to visit. I felt
a heavy burden trying to get this painting right. I feel I fell a bit short on the
likeness, but hope I made up for it with the mood I’m trying to convey.”
Step 1 Step 2
I always begin by I build the intensity of
wetting down the value and color from
paper to remove this point. When
sizing and then let it possible, I like to
dry completely. build everything
I block out the warms at the same time
and cools in my so I get a sense of
composition, which what’s working.
serve as my
underpainting. I’m
using burnt umber,
raw umber and
ultramarine blue for
the background and
fabric, and cadmium
red light, cadmium
yellow light, alizarin
crimson, and a touch
of ultramarine blue
for the fleshtones.
Step 3 Step 4
There’s a point when I don’t like the dark
I can tell if the values value moving down
are successful. I’m and off the page.
always looking at the Value can fight with
total composition color for attention.
and how things are This painting hinges
balanced. Although on value placement—
it’s a slow build, and where I want the
I think the back- viewer’s eye to go.
ground is a bit too I change the
cool and needs more consistency of burnt
reds in the browns. umber and add some
burnt sienna into the
brown. The darker
contrast and warmer
tones surrounding
Marge will keep the
focus on her while
accentuating the
environment.

Step 5
The value still isn’t quite right for the focus
of the painting, so I remove a bit more before
I go back in to intensify color and value.
I want a few more light areas surrounding
Marge to provide a more open feeling. I add
more burnt sienna into the background color
before the final layer. This provides a hint
of color that echoes the fleshtones.
Final Step
My paintings are an act of layering. I want some form of luminosity without getting
opaque in the values, so it’s all about building layers from this point on. I keep
working until Resolution (watercolor on paper, 19x13½) feels complete. WA
“The paintings in the ‘Marge’ series were the hardest

ones I’ve ever had to do. In Resolution, I was working
out my feelings after losing the last remaining parent
between my husband, Terry, and me.”
Bright Ideas
a recent relocation from

Pennsylvania to Minnesota
provided Marian Parsons
(missmustardseed.com) the perfect
opportunity to move her off-site
business into her home. A front room
serves as her office, and the off-the-
kitchen three-season room (outfitted
with a mini-split heating/cooling
unit) is her creative studio. Parsons—
founder and owner of Miss Mustard
Seed’s Milk Paint, three-time author,
freelance writer and photographer, and
HGTV online contributor—is also a
fledgling watercolor and oil painter, so
the vintage-inspired space gets almost
daily use. She curated her light-filled
studio with both the pretty and practi-
cal in mind, finding gems on Craigslist,
Etsy and Ebay, and on her excursions to
antique stores and fairs. Organization
is key; Parsons set her studio up in
zones for storage, watercolor paint-
ing, oil painting and inspiration. “I go
in there, close the door, turn on my
music, and I’m ready to be a student
and practitioner,” she says.
My Studio,
My Sanctuary
MARIAN PARSONS transforms her painting spot
into an oasis filled with all things vintage.
By Beth Williams

MAIL CALL
Parsons placed an
antique postal sorter GET THE LOOK
to the right of her
Craigslist drafting Ceiling: Aura paint (eggshell)
table for easy reach. in Patriotic White
Ironstone butter pats Walls: Aura paint (eggshell)
are used as mini- in White Dove (shown)
palettes, while benjaminmoore.com
marmalade crockware
gets new life as brush
holders and water jars.
A green toolbox is a
catchall for frequently
used tubes of paint.
GET THE LOOK
Can’t find antique crockery
“
for storing your brushes or
It’s a space that beckons … come, holding water? Use an
enamel cup instead.
create. Make mistakes. Make a mess. terrain.com
”
Practice, grow and learn.
GET THE LOOK

Parson’s old hardware
PHOTOS COURTESY OF MARIAN PARSONS
store cabinet (above)—

the focal point that
houses paints, brushes,
papers and more—was
a Craigslist find. Follow
her lead to combine form
and function in your own
creative space.
library card file media
cabinet; amazon.com
NOT-
SO-
STILL
LIFES
TRACKING HER PERCEPTIONS OF HER
IMMEDIATE WORLD, DAWN CLEMENTS
ENCOUNTERS EVERYDAY JOYS WHILE
CONFRONTING MORTALITY ITSELF.
By John A. Parks
DAWN CLEMENTS draws and paints

her surroundings, moving from one viewpoint to the next with
an intense eye and a sure hand over days and weeks. The works
become cumulative, not only as observations but also physically,
as the artist adds sheets of paper to incorporate each new area
of her subject. Gradually, they grow to become very large pieces,
some more than 20 feet long.
Folded, stressed from handling, and often far from true
rectangles, Clements’ finished work bears witness to a long phys-
ical engagement with the world. Inevitably, this enterprise
becomes autobiographical, not only as a testament to spending
time in a certain place, but also in recording the objects with
which the artist finds herself living.

Chrysanthemums
“I LOVE HOW WATERCOLOR CAN REVEAL
POSITION, A DIRECTION CONSIDERED AND
Recently, faced with grave health paper—that I could add on pieces to

issues, Clements has chosen to incorpo- extend the image.
rate evidence of her ongoing treatments “Once I gave myself permission to
in the form of medication packaging. glue on more paper, I realized that I
A body of work that takes on the shift- could make large drawings from
ing, transitory nature of perception has smaller modules. Once the frame of the
now broadened to become a meditation rectangle was changed, I could think of
on mortality. Far from negative, the drawing in a more sculptural way, that
sheer vibrance and intensity of the a drawing needn’t be a ‘window’ but
work affirms the artist’s joy in engaging could present itself as the object it is.”
the world, even as some of the subject Clements further discovered that
matter assumes a new poignancy. she didn’t need to keep her growing
drawing flat; when it got too long to
OFF THE PAPER manage, she could just fold it, which
Clements began to work in her enabled her to make drawings on a
current manner back in the early ’90s much larger scale. “Sometimes my
when she was drawing still lifes and drawings get torn or worn or dis-
found herself traveling. “I was in a tressed as I fold and glue them,” she
hotel room in Italy, drawing a tele- says, “but then I patch and repair
phone cord,” she recalls. “I hadn’t them. All of this is part of my process.”
planned the drawing very well, and
the image didn’t fit on the paper. A SHIFTING
Upstairs at the McIver’s
(The Cobweb, 1955)
I was disappointed until I realized VIEWPOINT
(watercolor on paper, that I really didn’t have to confine Clements’ process inevitably results in
23x128) myself to the rectangle of the images that are somewhat fractured.

A CHANGE OF MIND OR A SHIFT IN
REDIRECTED.”
They incorporate various disjunc- multiple shadows or shadows that

tions as one day’s work is added to don’t conform to a single light source.”
the next. In a sense, the work reflects Clements’ earlier work featured Artist’s Toolkit
the way in which we approach a com- a variety of media, but in recent years PAPER
prehensive and continuous world she has begun to work extensively in • Fabriano Accademia roll
from a patchwork of shifting view- watercolor. “Before 2012, I worked paper, 80-lb., and
points and sensory inputs. But the primarily in ink and gouache,” she Strathmore 400 drawing roll
drawings also present a much more says, “sometimes ballpoint pen, paper, 100-lb.
elaborate appreciation of the visual sometimes Sumi ink and brush, INKS AND PENCILS
richness of an environment than sometimes gouache. People often • Sumi ink (both black and
we’d normally consider. Clements describe my work as ‘drawing.’ Even vermilion)
works up close to each object, spend- though I often use paint, there’s • ballpoint pen (Bic Crystal
ing time observing it intensely before something in my process that makes or PaperMate medium point
moving on to the next. people think my work is drawing. black)
She accepts that her process means I don’t mind what people call it. • No. 2 pencils
that she’ll dispense with a complete, To me, it’s work.” WATERCOLOR
coherent perspectival space through- At a certain point, Clements chose • Sennelier
out a work. While individual objects or to use watercolor because it meshed GOUACHE:
small groupings might have “correct” with her sense of process as a drafts- • Winsor & Newton
perspective, the whole work can incor- man. “When I work in ink, I generally
BRUSHES
porate many different viewpoints don’t use water or white,” she says.
• soft round watercolor
while taking on a certain flatness. “Not “This makes erasure impossible. This
only do I shift my viewpoint,” says the isn’t to say that marks can’t be
artist, “but I might draw at different changed. If I really can’t live with a
times of day. This may result in mark, I’ll cut it out and glue in a new
“I CREATED EVEN STRICTER
PARAMETERS TO ACKNOWLEDGE
NATURE’S ROLE IN CHANGE, GROWTH,
DECAY AND TIME.”
ABOVE
Three Tables in Rome
85x248½)
RIGHT
Table (MacDowell)
(detail; watercolor on
paper, 81x99)

piece of clean paper. Still, most of the One day—Clements doesn’t
time I try to live with the so-called remember why—she decided to work
mistakes I make and just move for- in watercolor instead of gouache, and
ward, accepting that it’s part of the it felt very different. “Even though it
experience of making—and ultimately was paint, it felt like I was drawing
of viewing—the work. again,” she says. “I realized that in
“When I decided to work in watercolor I didn’t use opaque white
gouache,” she continues, “there was and that the paints were always trans-
something about using it that felt lucent. Somehow I could never cover
like painting. What was it? As it my ‘mistakes.’ This felt like drawing
turned out, it was the presence of the again. The viewer had access to my
color white in the palette. Once white search and struggle.
was available, corrections and era- “I love how watercolor can reveal a
sures were possible. Also, the change of mind or a shift in position,
building of a form had more potential a direction considered and redirected.”
to be more traditionally painterly.
Usually, oil painters work from dark STARTING SMALL
to light. Even though gouache is a The way in which Clements builds
water-based medium, it has the a drawing by a process of accretion
potential to be opaque, so revisions means that the paper often under-
can be made easily.” goes considerable handling—and that
ABOVE the eventual work can achieve a very format. “I want the work to reflect my
Tabletop (Civitella large scale. These are features that life and what I see—both the love and
Ranieri)
both contribute to the nature and the mess,” she says. “Maybe the distress
(detail; watercolor and
gouache on paper, 53x92) power of the work, but also present that happens to the work is part of it.”
challenges in terms of longevity.
OPPOSITE The finished works are exhibited A NEW CONDITION
Three Tables in Rome unframed, extending out across the While Clements’ work always has been
(detail; watercolor on
paper, 85x248) walls of a gallery, and exposed to somewhat autobiographical in record-
accidents. “I do worry about the ing the spaces in which she has lived
longevity of my work, but I guess I’m and worked, it has taken on new mean-
more interested in the search itself,” ing since the artist has found herself
says Clements. “I often make large facing serious health challenges.
works in small spaces, for instance, “In April 2016, I was diagnosed
a large drawing of my kitchen table.” with early-stage breast cancer,”
To do this, she may start small, Clement says. “It was devastating,
add paper with glue as she progresses but from what I understood, surgery,
and then fold the paper to accommo- chemotherapy and radiation therapy
date her reach. Clements almost might very well rid the cancer from
always works on a flat surface parallel my body. Unfortunately, my cancer
to the floor, such as a table, and didn’t respond to treatment. In
almost never works on the wall. “This late-October 2016, it was revealed to
keeps me close to the objects I’m me that it had spread to other parts
drawing and puts me right there at of my body and that I had a very
the kitchen table,” she says. “I hope advanced stage [Stage IV] metastatic
that even though the work can cancer. There was no role for surgery,
become very large in size that it’s and my prognosis was very grave.
never ‘monumental.’ ” This came as a terrible shock to me.”
Clements strives to convey an inti- The day after receiving this news,
macy in her work, even when it’s a large Clements traveled to Rome for a

Peonies scheduled two-month residency at 75], I wanted to experiment with
(watercolor on paper, the American Academy. “Assuring me some ideas having to do with whether
69x93)
that I could receive the same medical or not different levels of definition or
treatment in Rome, my oncologist resolution could coexist successfully
encouraged me to go,” the artist says. in a single work,” she says.
“An oncologist in Rome communi- “To do this, I created some rules
cated with mine in New York so that for myself. I decided that I’d draw what
I could begin a treatment. It was a I observed across several tabletops.
pretty crazy time, adjusting to a new Instead of staying fixed in one position,
place and a different health system I’d move along the edge of the table so
while trying to wrap my brain around I’d always be close to the objects I was
the gravity of my new condition. observing, interpreting them much the
“As you can imagine, this was a way a video or film camera might slowly
very confusing time for me. But there travel and scan a space.”
I was in this extraordinary place, with Clements began each day by cutting
a glorious studio in a community of a piece of paper from a large roll,
accomplished and brilliant artists and choosing a size that she thought she
scholars. It was a very strange time, could fill that day. “For instance, on
dreamlike in many ways,” she says. day one, I planned to paint a pine twig,
so the paper was about the size of the
DAY BY DAY pine twig, not much larger,” she says.
Remarkably, Clements launched into “On day two, I cut another smallish
a very large watercolor. “For my Rome piece of paper and attached it to the
project [see Three Tables in Rome, on left of the first day’s work.” She then
pages 72-73, and the detail, on page painted an olive branch on it. “On each

subsequent day, I’d add just enough
paper for that day,” she says, “and this
Watching Grass Grow
is how the work grew [eventually
reaching 22 feet in width].”
Clements added another rule to her
process; she vowed never to return to
the previous day’s work. She’d only
move forward. “I could add any size or
shaped paper I wished, and the com-
pleted work could be any size or shape
I wanted within the boundaries of the
eight weeks of the residency. I was only
limited by time, not size,” she says.
Clements’ self-imposed rules did
indeed allow her to understand how
different levels of resolution might
operate within a single work. “Usually,
I’d have worked on the image of an
object until I felt it was complete,
often with a fairly high level of defini-
tion,” she says. “Sometimes this would
take hours, even days. In my previous
works, certain temporal and physical
changes often prevented me from One of Clements’ most unusual watercolors—Grass— Grass (detail;
resolving an image in the way in represents a small area of lawn viewed from directly watercolor on
which I had intended. above, in which each blade of grass and wildflower is paper, 30¾x33)
“For example, a flower would wilt explored with an almost-obsessive eye.
or drop its petals; a hyacinth would “A lot of times, I describe it as a kind of climbing-in,”
Clements says, referring to taking up a state of
bloom; a piece of fruit gradually would intense observation. Acknowledging the heavy detail,
decay; or a residency would come to an she points out that with some subjects, detail is just
end. I always tried to respond to these unavoidable. “If we’re drawing an interior of an
changes and incorporate them into the ornate church, we might be considered obsessive if
work. The impact of time passage and we draw all the details,” she says, “but really, that’s
physical change affected the way I the subject.”
Clements says her interest in a minute drawing of
composed and resolved work. Rather a patch of lawn was influenced by certain works of
than controlling my environment, Fra Angelico (Italian; 1395-1455), in which sections of
I tried to partner with it. lawn, thick with various flowers, appear alongside
“But in Rome, I created even figures. “I was struck by the revelation of just how
stricter parameters to acknowledge much European lawns resemble the Fra Angelico
nature’s role in change, growth, decay lawn and that Fra Angelico’s lawns may have come
and time,” Clements says. “In my from an observed experience of his environment,” she
says. “Because Fra Angelico’s paintings are so
mind, this forced time constraint ethereal, I never quite thought of them as being of
gave the varieties of resolutions pur- this world. To see this Fra Angelico lawn in life outside
pose.” Along with the distressed my studio door in Umbria struck me in a powerful
paper and the folds, the levels of way. The very process of drawing it every morning
resolution became an integral part made it a more meditative than obsessive focus.”
of the process. To paint the lawn, Clements decided she’d spend
just an hour each day of her six-week residency in
Umbria painting a section of about one square foot
PERSONAL of lawn. She did this over 23 consecutive days. “What
EPHEMERA interested me was that a lawn is always growing,” she
While pursuing this focused and says. “Sometimes even over the course of 24 hours, it
thoughtful project, the artist would be difficult to find my place again.
acknowledges that the whole enter- “I’m not a botanist, and I’m a terrible gardener, but
it was fascinating just to spend that time with a
prise was complicated by her physical square foot of lawn.”
and emotional state as she grappled
with her medical condition. “My new
regimen of treatment, having to man- darker than others, the artist man-
age it in Italy, and trying to grasp my ages to give us a look at the whole
feelings about the progress of my dis- with considerable relish and joy. WA
ease and mortality was difficult,” she
recalls. “And the work itself was John A. Parks (johnaparks.com) is a
demanding and exciting for me. It painter, a writer and a member of the Plant and Shoes
took a lot of focus.” faculty of the School of Visual Arts in (watercolor on
As she moved across and painted New York. paper, 75x83)
the tabletops, Clements added objects
such as fruits, scraps of paper and
other things that she encountered in
her daily life. “In the last weeks of
working on this piece, I kept taking
chemotherapy pills and looking at the
box, saving the used blisterpacks of
the pills I had consumed. I wanted to
include them in the work, but I didn’t
immediately do so.”
She wondered if their presence
would overwhelm the work and create
a narrative that was too strong and
maybe even too sentimental. But ulti-
mately, she decided to include the big
box of medication (Xeloda) and the
empty blisterpacks. “In a way, it
became a calendar, a way of counting
days,” Clements says. “And I just
decided that, for me, it would be dis-
honest not to include these objects
that had become such an essential
part of my life. They became as signifi-
cant and as ordinary as any of the
objects on the table.
“But of course,” she continues,
“the text on the pill box package is
very legible, and text in a visual work
can be an area of focus. People see it
and read it. It has a potential to drive
and emphasize a narrative.” Yet the
final narrative of Three Tables in Rome Meet the Artist
turns out to be much broader than Dawn Clements grew up in Chelmsford, Mass., where her
the story of an illness. Incorporated father was an artist. Some of her earliest memories are
within the image are fruits, foliage drawing with him in his studio. In college, she studied film
and a variety of Italian packaging dis- before eventually embracing a career in art. “I know
playing colorful, stylish type. A lamp music and film influenced my work and encouraged me
and a telephone are joined by the worn to consider how we move and constantly frame, interpret
and present our experiences as we move through our
woodgrain of a table top, and a glimpse lives,” she says. “I came to think of observation as looking
of lawn and light in the view through closely, but also listening and touching. I came to
a window. Life is continuing in all appreciate points of view that move and shift.”
its aspects of growth and decay. Clements’ work has been exhibited widely over many years, including at the
PHOTO BY ANGELA DUFRESNE
Sophisticated electronic artifacts take Whitney Biennial 2010. It’s also included in the permanent collections of the
their place alongside natural forms; a Museum of Modern Art; the Whitney Museum of American Art; The Tang
Museum, in Saratoga Springs, N.Y.; The Deutsche Bank Collection; The Saatchi
certain taste for pleasure and lightness Collection, in London; The Henry Art Gallery; the University of Washington, in
inhabits the piece. Seattle, Wash.; and Colecção Madeira Corporate Services, in Portugal.
The whole richness of life is here. Clements makes her home in New York City and is a member of the
If some of its aspects are necessarily faculty of the Rhode Island School of Design.

1 0 T H A N N U A L I N T E R N AT I O N A L Early-Bird
watermedia Deadline:
showcase July 2, 2018
Your painting could win $2,500
and worldwide recognition!
Catapult your best painting into the spotlight by entering the Watermedia Showcase
competition. Winners and honorable mentions will experience the joy of seeing their
painting in the April 2019 issue of Watercolor Artist.
Enter by July 2, 2018, for your best entry price.
Best of Show:
$2,500
2nd Place:
$1,250
3rd Place:
$750
4th Place:
$500 Blick gift card
5 Honorable Mentions:
$100 Blick gift cards
Gift cards courtesy
of Watermedia
Showcase sponsor:
Playing (detail; watercolor on paper, 22x30), by Yin Jun from WuHan, China
FOR A COMPLETE LIST OF PRIZES, CATEGORIES AND ENTRY DETAILS, VISIT:

artistsnetwork.com/watermediashowcase
The competition is open to artists from around the world. All works must be original. Mixed-media entries are accepted,
but the primary medium must be watermedia on paper. There is no limit to the number of entries you may submit.
For additional guidelines and to enter online, visit artistsnetwork.com/watermediashowcase.
Burning Question
If you could invite

three famous artists—
living or dead—to join
you for a dinner party,
who would they be?
Carla O’Connor
Although there are many artists
whom I admire for as many reasons,
I’d invite MILTON AVERY [American,
1885-1965], for his color genius;
NICOLAI FECHIN [Russian-American,
1881-1955], for his success in combining
classic portraiture style with total
abstract surroundings; and ROBERT
HENRI [American, 1865-1929] for his
philosophy of content and context.
That would be an interesting and
exciting dinner party for me.
Betsy Dillard Stroud Eric Wiegardt

SANDRO BOTTICELLI [Italian, 1445-1510]. His IRVING SHAPIRO [American,
painting, The Birth of Venus, is the first painting I tried 1927-1994]. My mentor.
ILLUSTRATION BY LUCIANO LOZANO/GETTY IMAGES
to copy at the age of eight. His use of line and the PIERRE BONNARD [French,
mystery of his paintings fascinate me. PAUL 1867-1947]. He left a career as a
CÉZANNE [1839-1906]. A great influence for me in my professional, escaping a life of
middle years in color, composition and spirit. JOSEPH monotony, as I did, to become
RAFFAEL [American, b. 1933]. A true master. His a professional artist. VINCENT
voluptuous use of paint, his personal artistic VAN GOGH [Dutch, 1853-1890].
cosmogony, and his spiritual approach to painting What an incredible mind and
and life never cease to inspire, inform and delight me. courageous soul.

Ted Nuttall
GIORGIO MORANDI [Italian, 1890-1964].
He said of his work, “I am essentially a
painter of the kind of still life composition
that communicates a sense of tranquility
and privacy, moods which I have always
valued above all else.” I relate as much to
this sensibility in his approach as I do to his
simple compositions, subtle design and
quiet lyrical colors. I suspect a visit with him
would be rich in spirit and very inspiring.
MILTON GLASER [American, b. 1929]. As
one of the most influential graphic designers
and illustrators in America, Glaser was one
of the great heroes of my “pre-painting”
days as a graphic designer. I admire his
conceptual thinking both as a designer as
well as a fine artist, and his writings on
creativity are insightful and stimulating.
Spending a few hours with him over dinner
would be an education in itself.
RICHARD DIEBENKORN [American, 1922-
1993]. I recall standing in front of one of his
large “Ocean Park” paintings at the Dallas
Museum of Art and experiencing an
epiphany that significantly influenced my
painting process. I frequently browse my
Diebenkorn books for that always-needed
creative shot in the arm. I’d love to listen to
him talk about his life and work.
“ Painting is experience, not the re-creation of it.

” —BRIAN RUTENBERG
Donna Zagotta
I’d love to sit down and have a long and lively dinner conversation with RICHARD DIEBENKORN,
HENRI MATISSE [French, 1869-1954] and BRIAN RUTENBERG [American, b. 1965]. I had the
pleasure of seeing all three artists’ paintings in person last year, and their work and words have
inspired and encouraged me as I explore new territory in my own work. The art of all three shares
many formal and compositional characteristics, along with a uniquely personal combination of
the real and the abstract—ideas that resonate deeply with me.
artist’s marketplace
Inspiring painting holidays in rural Tuscany
www.watermill.net
“Our best holiday ever!”

We offer stimulating, fun-filled
courses with acclaimed tutors based
in a beautiful setting in unspoilt Italy.
Email: info@watermill.net
Call Bill or Lois: +39
Acadia Workshop Center ADVERTISER’S INDEX

Mount Desert Island, Maine
Acadia Workshop Center..........................82
Andy Evansen .............................................85
ART WORKSHOPS 2018 Arkansas Arts Center..................................21
SAN MIGUEL DE ALLENDE Art In The Mountains ................................ 86
March: Judy Morris/Betty Carr Birgit O’Connor ......................................... 84
SWITZERLAND Blick Art Materials .....................................BC
June: Mel Stabin Caran d’Ache..............................................23
SANTA BARBARA Colart America......................................... IBC
April: Brenda Swenson Top Instructors / All media Creative Art Workshops ........................... 84
SAN MIGUEL DE ALLENDE Crow Hill Gallery ........................................82
October: Don Andrews
www.acadiaworkshopcenter.com F+W ...................................... 7, 8, 19, 21, 26, 79
FlyingColorsArt.com 858-518-0949 207-460-4119 Flying Colors Art Workshop .....................82
General Pencil .............................................21
Golden Artist Colors ................................3, 9
Hudson River Valley.................................. 84
Jeanne Carbonetti Huntsville Museum Of Art........................ 83
Iain Stewart Watercolors ......................... 83
Expanded Website Jan Sitts ...................................................... 83
Jerry’s Artarama ..........................................9
Featuring Sales Gallery John C. Campbell Folk School ................. 84
for Watercolor Paintings Judy Mudd ................................................. 83
MARJORIE GLICK Kanuga .......................................................87
watercolor workshops 2018
Store for Legion Paper ...............................................15
focusing on dynamic color and light
Books, DVDs & Prints Leigh Yawkey Woodson Art Museum .... 83
coastal maine, tuscany, italy Marguerite Meyerson ................................87
and giverny, france www.crowhillgallery.com Marjorie Glick .............................................82
see website for dates and info: 802-875-3763 Mission Art Inc .......................................... IFC
www.marjorieglick.com National Watercolor Society ................... 83
Pennsylvania Watercolor Society ........... 83
Quiller Gallery, LLC ....................................22
Renaissance School Of Art ...................... 86
Robbie Laird Don’t miss your Robbie Laird Art Studio .............................82
Robert Burridge Studio .............................87
OHIO August 28-31, 2018
Ohio Watercolor Society
chance to advertise Society Of Watercolor Artists .................. 83
Michael McEnroe mcenroem@aol.com in the next issue of Texas Watercolor Society ........................ 86
The Teaching Company .............................5
CALIFORNIA September 19-21, 2018
Jerry Smith jsmithp38@sbcglobal.net
OREGON October 8-12, 2018
Watercolor Society of Oregon
Beth Verheyden vstudios@comcast.net
Watercolor Tom Lynch.................................................. 86
Tony Couch................................................ 84
Tony van Hasselt ....................................... 84
Transparent Watercolor Society..............82
COLORADO November 6-8, 2018 Valley Arts Foundation ...................... 83, 86
Colorado Watercolor Society
Terrey Herrod teamterrey@yahoo.com
Mary McLane Watermill, The ............................................82
www.RobbieLaird.com
970-290-6065 Wiegardt Studio Gallery .............................8

Jan Sitts
Mixed Media
Workshops
Texture, Color Feeling

Book available
jan@jansitts.com  www.jansitts.com
ARIZONA Contact: 619/876-4550, slater12@cox.net

CALL FOR ENTRIES Robert Burridge online.workshops@sdws.org or www.sdws.org
5/14-5/18/18, Sedona. Jan Sitts
DEADLINE: MARCH 11, 2018 Contemporary Abstract Figure Painting & Collage. 6/8-6/11/18, San Clemente.
Society of Watercolor Artists International Watercolor Sedona Arts Center. San Clemente Art Supply.
Juried Exhibit. Awards - $5,000. Juror and workshop - Contact: 888/954-4442 or 928/282-3809 Contact: Heather, 949/369-6603
Don Andrews. Exhibit at Atrium Gallery FWCL in http://sedonaartscenter.org/School/Faculty/ Iain Stewart
Fort Worth, TX, April 15 - May 20, 2018. For more info: robertburridge2.html 7/19-7/21/18, Walnut Creek.
www.swawatercolor.com or email exhibit chair: Jan Sitts California Watercolor Association.
swaexhibitions@gmail.com AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL POST Contact: www.californiawatercolor.org
PROPOSED DATES FOR UPCOMING CLASSES. Eric Wiegardt, AWS-DF, NWS
DEADLINE: APRIL 15, 2018 5/7-5/9/18, Sedona. Sedona Arts Center.
The Woodson Art Museum is accepting submissions to 4/18-4/21/18, Concord.
11/5-11/7/18, Sedona. Sedona Arts Center. Wiegardt’s Painterly Watercolors.
the annual juried Birds in Art exhibition, September 8 - Contact: Debbie, 928/282-3809
November 25, 2018. All works must interpret birds and Contact: California Watercolor Association
Iain Stewart registrar@californiawatercolor.org or
related subject matter. Processing fee: $55 for one entry;
3/13-3/16/18, Tucson. californiawatercolor.org
$65 for two entries. Postmark and online submission
Southern Arizona Watercolor Guild.
deadline for entry form, digital image, and processing
Contact: 520/299-7294 COLORADO
fee April 15, 2018. For prospectus/entry form, visit Robbie Laird
www.lywam.org/2018-prospectus; call 715/845-7010; ARKANSAS 11/6-11/8/18, Colorado Watercolor Society.
email museum@lywam.org or write 700 N 12th St., Iain Stewart Contact: Terrey Herrod, teamterrey@yahoo.com
Wausau, WI 54403-5007. 2/21-2/24/18, Little Rock. Stephen Quiller
Mid Southern Watercolorists. 6/2-6/8/18, Creede.
DEADLINE: APRIL 20, 2018 Contact: ms.watercolorists@gmail.com
7th Annual Green Mountain Watercolor Exhibition, June 17 - Experimental Water Media- Color, Composition.
July 28, 2018. Mad River Valley, Waitsfield, Vermont. $5,000 CALIFORNIA 4 UR Ranch.
and merchandise awarded by judge, Richard Sneary, NWS. Robert Burridge Contact: Robin Christensen
Digital entires only through www.artshowmanager.com. 719/658-2202 or fax 719/658-2308
3/9-3/11/18, Upland.
For prospectus/entry procedure visit robin@4urranch.com or www.4urranch.com
Abstract Acrylic Painting & Collage.
www.valleyartsvt.com. For information: Gary Eckhart at 8/16-8/26/18, Creede.
Art Box Studio.
Intensive Color and Water Media Workshop.
802/583-2224. Submission deadline: midnight. Contact: Sylvia Megerdichian, 909/981-4508
Quiller Gallery.
artboxsylvia@netzero.net or
DEADLINE: MAY 15, 2018 http://www.sylviamartist.com/ArtBoxStudio/ Contact: Marta Quiller, 719/658-2741
Pennsylvania Watercolor Society’s 39th International Juried workshops-2/2018-workshops/bob-burridge info@quillergallery.com
Exhibition, September 15 - October 20, 2018. At the Crary Art 9/23-9/29/18, Creede.
3/16-3/18/18, Fresno.
Gallery, Warren, PA. Juror of Selection – Keiko Tanabe, Juror Loosen Up with Aquamedia Painting. Plein Air Water Media Workshop. 4 UR Ranch.
of Awards – Ron Thurston. Over $14,000 in Awards. Entries Alliance of California Artists. Contact: Robin Christensen
accepted beginning March 1, 2018. For a prospectus, visit The Fresno Art Hub. 719/658-2202 or fax 719/658-2308
www.pawcs.com or email pwsjuriedshow@gmail.com Contact: Deborah Pepin, 559/288-5507 robin@4urranch.com or www.4urranch.com
DEADLINE: MAY 18, 2018, NOON PDT Pepin61@msn.com or FLORIDA
NWS 98th International Exhibition, October 4 - December http://www.allianceofcaliforniaartists.com/ Art School Renaissance, Sarasota
16, 2018. Online Entry Only - Open April 1 - May 18, 2018 demonstrations/acaworkshop.html Workshops with invited nationally recognized artists.
3/26-3/30/18, Arroyo Grande. 2/25-2/27/18, Composition In Plein Air with
Noon PDT. Jurors: Carla O’Connor, NWS, AWS DF, NWWS,
Robert Burridge 5-Day Instructional Studio Workshop. Charlie Hunter, water-mixable oils.
SDWS, Linda Doll, NWS, AWS, SDWS, Linda Daly Baker, Contact: Kate@RobertBurridge.com
NWS, AWS, TWSA, SDWS, ISEA, LWS, WW. Awards Juror: 3/17-3/19/18, Florida Landscape, Plein Air with
4/1-4/6/18, Scotts Valley. Vladislav Yeliseyev.
D. Scott Atkinson, Chief Curator San Diego Museum of Loosen Up with Aquamedia Painting.
Art. Fine Arts Advisor and Appraiser. Upload Prospectus: 3/20-3/22/18, Plein Air with George Van Hook, oil.
Contact: 844/544-1440, info@1440.org or https://1440.org Contact: Marina, 941/330-6865
nationalwatercolorsociety.org
Tony Couch, AWS school@yeliseyev.com or YeliseyevStudio.com
3/4-3/8/18, Cambria. Robert Burridge
5/28-5/30/18, Folsom (Sacramento).
WORKSHOPS Contact: 678/513-6676, toncouch@mindspring.com
2/12-2/16/18, Bonita Springs.
Postmodern Polyptych Painting.
Flying Colors Art Workshops Center for the Arts of Bonita Springs, FL.
ALABAMA April 2018, Santa Barbara. Demo, Sunday, February 11.
Huntsville Museum of Art Brenda Swenson, W/C Sketchbook. Contact: Donna Delseni, 239/495-8989
All levels of instruction. Class size 12. adulted@artsbonita.org or
5/3-5/6/18, Huntsville. David Dunlop,
Contact: Cris Weatherby, 858/518-0949 www.artcenterbonita.org/workshops/index.html
Natural Elements; Painting with the Masters,
FlyingColorsArt@me.com or 2/18-2/21/18, Key West.
Old & New Techniques.
www.FlyingColorsArt.com Abstract Acrylic Painting & Collage.
6/1-6/2/18, Huntsville. Alan Shuptrine,
Realistic Watercolor Landscapes. Robbie Laird The Studios at Key West.
8/16-8/18/18, Huntsville. Keith Andry, 9/19-9/21/18, Nipomo. Contact: Erin Stover-Sickmen, Artistic Director
Strong Design & Bold Strokes in Watercolor. Central Coast WS. 305/296-0458, erin@tskw.org or https://tskw.org
10/18-10/21/18, Huntsville. David Shevlino, Contact: Jerry Smith, jsmithp38@sbcglobal.net Tony Couch, AWS
Alla Prima Clothed Figure & Portrait Painting. Birgit O’Connor 3/20-3/23/18, St. Petersburg.
11/9-11/11/18, Huntsville. Lian Quan Zhen, Watercolor 3/19-3/21/18, Santa Clara. Contact: 678/513-6676, toncouch@mindspring.com
Painting: Let the Colors Paint Themselves. Santa Clara Watercolor Society. Fearless Flowers. Tom Lynch
11/15-11/17/18, Huntsville. Perry Austin, Contact: Susan Jochheim, SCVWS Workshops 2/14-2/17/18, Punta Gorda.
Painting the Landscape in Oils. Workshops@scvws.org or sgjochheim@gmail.com 3/13-3/15/18, Tequesta.
Contact: Laura E. Smith, Director of Education/Museum Stephen Quiller 3/27-3/29/18, The Villages.
Academy, 256/535-4350 x222 3/12-3/16/18, San Diego. Contact: 630/851-2652
lsmith@hsvmuseum.org or hsvmuseum.org San Diego Watercolor Society. Tomlynch@msn.com or www.TomLynch.com
Tony van Hasselt, A.W.S.
3/19-3/23/18, Victorian Fernandina. This workshop offers
WATERCOLOR WORKSHOPS plein air painting fun on sunny Amelia Island. Stately
Our
homes and moss draped oaks, plus a harbor, boats and
rickety docks. Demonstrations, lots of individual painting
classes
time and assistance. If desired, join for just the first three
days of this five day workshop. Paint in watercolor or
acrylics.
last a Contact: www.vanhasseltworkshops.com

Vladislav Yeliseyev AIS, NWS
lifetime.
3/28/18, Bradenton.
Keeton’s Art Supply.
One day Watercolor workshops.
Contact: 941/747-2995
What you learn at the 3/17-3/19/18, Sarasota.
Cambria CA, March 4-8, 2018 St. Simons GA, April 30-May 3
St. Petersburg FL, March 20-23 &OLSOM#!-AY Folk School stays with you. Florida Landscape, Plein Air Workshop.
Contact: Marina, 941/330-6865
Oxford
Dawsonville GA, April 9-12 OH, July 9-12
JOHN C. CAMPBELL FOLK SCHOOL school@yeliseyev.com or www.yeliseyevfineart.com

folkschool.org 1-800-FOLK-SCH GEORGIA
Learn at home Books and DVDs BRASSTOWN NORTH CAROLINA Art In The Mountains
(678) 513-6676 I www.tonycouch.com 6/11-6/15/18 and 6/18-6/22/18, Savannah. Charles Reid,
Drawing and Painting with Charles Reid.
Watercolor - studio. Intermediate to advance painters.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com or
Birgit www.artinthemountains.com
Tony Couch, AWS
O’Connor 4/9-4/12/18, Dawsonville.
4/30-5/3/18, St. Simons.
Watercolor Contact: 678/513-6676, toncouch@mindspring.com
ILLINOIS
Andy Evansen
Free 3/8-3/10/18, Chicago.
Contact: Ingrid Albrecht
Online Course ingrid@ingridsartoriginals.com
TONY VAN HASSELT

A Transparent Watercolor Society of America
W
S 6/4-6/8/18, Kenosha. John Salminen,
Plein Air
PleinAir
Air Watercolor Workshops
Watercolor
Watercolor Workshops
Workshops Plein Workshops Realism Through Design.
6/4-6/8/18, Kenosha. Soon Warren,
HOW TO Mar 8: Paint
5 dayscenic Southport, NC
BOOKS 3 and domestic workshops Creating Cut Crystal & Pouring Background.
Books & DVDS ARTAND
BOOKS
Mar 28: St. Simons Island, Georgia
10 days in the Provence, France 6/11-6/15/18, Kenosha. John Salminen,
Jun/Jul/Sept: Scenic Coastal Maine
AND DVD’S
DVD’S Dates
Aug 30:and details
Hudson on Valley,
River this website
NY
Abstraction Through Design.
www.birgitoconnor.com 800-248-6449 • tonyvanhasselt.com
vanhasseltworkshops.com
6/11-6/15/18, Kenosha. Soon Warren,
Creating Silver & Pond Water.
Contact: www.watercolors.org
INDIANA
Art In The Mountains
Workshop DVDs HUDSON RIVER VALLEY 9/13-9/15/18, Indianapolis.
Mary Whyte, The Portrait and The Figure.
ART WORKSHOPS Watercolor - studio. All levels welcome.
Contact: Tracy Culbertson, 503/930-4572
Learning, Laughter, info@artinthemountains.com or
www.artinthemountains.com
and Friendships in an
KENTUCKY
Inspiring, & Inviting Judy Mudd
Environment 2/24/18, Louisville. Let It Snow!
3/24/18, Louisville. Spring In Kentucky!
Contact: Preston Arts Center
Call Toll-Free 1-888-665-0044 www.prestonartscenter.com
MAINE
Margaret Evans Mar 18-24, 2018 Acadia Workshop Center
Margaret Dyer Apr 22-28, 2018 See full schedule on the website.
Christine Camilleri Apr 29-May 5, 2018 Contact: awcmaine@gmail.com or
www.acadiaworkshopcenter.com
Peter Fiore May 6-12, 2018
Sacked Out - Bev Jozwiak, AWS, NWS Marjorie Glick
Christine Ivers May 16-20, 2018 6/17-6/22/18, Stonington. Watercolor Plein Air: Color
Robert Burridge May 20-26, 2018 and Light. This magical coastal landscape is an artists’
paradise! Stretch your perception of how you see, think
Larisa Aukon May 30-Jun 3, 2018 about, and paint the landscape by learning new ways of
Laurie Goldstein-Warren Jun 3-9, 2018 interpreting it with color and composition. Express your
Richard McKinley Jun 10-16, 2018 ideas using watercolor’s elusive qualities of spontaneity
and transparency. Expand what you know through
Joel Popadics Jun 17-23, 2018 individual mentoring. Daily demonstrations, ample time for
Elizabeth St Hilaire Jun 24-30, 2018 painting, individual guidance and critiques are included.
Stonington, Maine is 90 minutes by car from Bangor, Maine
Brenda Swenson Jul 1-7, 2018 airport.
Kathyanne White Jul 8-14, 2018 Contact: www.marjorieglick.com
Fabio Cembranelli Jul 15-21, 2018 Tony van Hasselt, A.W.S.
5/14-5/18/18, Boothbay Harbor. Enjoy five days of painting
David Dunlop Jul 22-28, 2018
Island Home Nita Engle, AWS in Tony’s own “backyard”. Coastal scenes, rickety docks,
Patti Mollica Jul 28-Aug 1, 2018
See Video Clips
a farmers marker, lighthouses and more. Demonstrations,
Howard Rose Aug 1-5, 2018 lots of individual painting time and assistance. If desired,
of the above artists and Video Clips of Mel Stabin Aug 5-11, 2018
join for just the first three days of this workshops. Paint in
watercolor or acrylics.
Chris Unwin, NWS Self-Directed Retreat Sep 2-8, 2018 Contact: www.vanhasseltworkshops.com.
Soon Warren, AWS, NWS Lorenzo Chavez Sep 9-15, 2018 7/30-8/3/18, Belfast. Five days of plein air fun, exploring
this teaming coastal harbor and enjoying the charm of
Alexis Lavine, NWS Judi Betts Sep 16-22, 2018 Victorian Bayside. Subjects galore. Demonstrations, lots of
ChrisUnwin.NET
individual painting time and assistance. Work in watercolor
WWW. artworkshops.com or acrylics.
Contact: www.cmaworkshops.com

MARYLAND Contact: 630/851-2652 7/31-8/2/18, Newburgh. Fabio Cembranelli.
Andy Evansen Tomlynch@msn.com or www.TomLynch.com 8/7-8/8/18, Newburgh. George Van Hook.
3/23-3/25/18, Chesapeake Fine Art Studio. 8/15-8/17/18, Newburgh. Sarah Yeoman.
NEW MEXICO 9/25-9/28/18, Newburgh. Giuliano Boscaini.
Contact: ChesapeakeFineArtStudio.com Art In The Mountains 10/22-10/25/18, Newburgh. Iain Stewart.
Vladislav Yeliseyev AIS, NWS 4/8-4/10/18 and 4/12-4/14/18, Santa Fe. Contact: 845/787-4167, Riversideartworkshops.com
10/1-10/3/18, Stevensville. Alvaro Castagnet, The Pillars of Watercolor. Watercolor - Vladislav Yeliseyev AIS, NWS
Chesapeake Fine Art Studio. plein air. Intermediate to advanced outdoor painters.
3 day watercolor studio workshop. 5/23-5/25/18, Newburgh.
5/8-5/10/18, Santa Fe.
Contact: 410/200-8019 Mary Whyte, The Best of Watercolor. Watercolor - studio. Riverside Art Workshop.
All levels welcome. Contact: Marguerite, 845/787-4167
MASSACHUSETTS Contact: Tracy Culbertson, 503/930-4572 mkmeyerson@gmail.com or
Birgit O’Connor info@artinthemountains.com or riversideartworkshops.com
6/11-6/15/18, Glochester. www.artinthemountains.com NORTH CAROLINA
Contact: Northeast Art Workshops, 978/729-4970 John C. Campbell Folk School
northeastartworkshops.com NEW YORK
Hudson River Valley Art Workshops 2/11-2/16/18, Billie Shelburn, Fast and Loose Ink & Wash.
MICHIGAN 3/18-3/24/18, Margaret Evans. $564.
Tony Couch, AWS 4/22-4/28/18, Margaret Dyer. 2/18-2/24/18, Kathy Chastain, Introduction to Painting with
7/30-8/2/18, Petoskey. 4/29-5/5/18, Christine Camilleri. Watercolor Gouache. $630.
Contact: 678/513-6676, toncouch@mindspring.com 5/6-5/12/18, Peter Fiore. 3/4-3/9/18, Nan Cunningham, Painting with Authority. $564.
5/16-5/20/18, Christine Ivers. 3/11-3/17/18, Gay Bryant, Watercolor II – Improving Your
Chris Unwin Painting Techniques. $630.
Watercolor Workshop Weekly on Wednesdays. 5/20-5/26/18, Robert Burridge.
5/30-6/3/18, Larisa Aukon. 3/25-3/31/18, Redenta Soprano, Botanical Watercolor –
West Bloomfield, MI 48322 Blooms in Spring. $630.
Contact: Chris Unwin, 248/624-4902 6/3-6/9/18, Laurie Goldstein-Warren.
6/10-6/16/18, Richard McKinley. 4/1-4/6/18, Suzanne DesLauriers, Mountain Landscapes in
ChrisUnwin@att.net or www.ChrisUnwin.net Watercolor. $564.
6/17-6/23/18, Joel Popadics.
MINNESOTA 6/24-6/30/18, Elizabeth St Hilaire. 4/6-4/8/18, Virginia Urani, Get Your Feet Wet with
Andy Evansen 7/1-7/7/18, Brenda Swenson. Watercolor. $354.
7/8-7/14/18, Kathyanne White. 4/8-4/14/18, Annie Pais, Painting with Natural Oils. $630.
4/4-4/8/18, Duluth.
7/15-7/21/18, Fabio Cembranelli. 4/15-4/21/18, Mary Jane Volkmann, Painting the World
Contact: DuluthArtInstitute.org
7/22-7/28/18, David Dunlop. around Us. $630.
5/1-5/4/18, Hastings.
7/28-8/1/18, Patti Mollica. 4/22-4/27/18, Billie Shelburn, The Mechanics of Sketching
Contact: EvansenArtStudio@gmail.com
8/1-8/5/18, Howard Rose. to Paint. $564.
10/10-10/13/18, Hastings.
8/5-8/11/18, Mel Stabin. 4/29-5/5/18, John Mac Kah, Fusion Painting – Crossover
Contact:EvansenArtStudio@gmail.com Techniques in Acrylics & Oils. $630.
9/2-9/8/18, Self-Directed Retreat.
MISSOURI 9/9-9/15/18, Lorenzo Chavez. 5/6-5/12/18, Terri Jones, Alcohol Inks – Mastering the
Robert Burridge 9/16-9/22/18, Judi Betts. Medium. $630.
5/3-5/5/18, Springfield. Contact: 888/665-0044 Contact: John C. Campbell Folk School
Loosen Up with Aquamedia Painting. info@artworkshops.com or www.artworkshops.com Brasstown, NC 800-FOLK-SCH or www.folkschool.org
Visual Artist Alliance of Springfield. Marguerite Meyerson Kanuga
Contact: Suzi Agee, 417/818-4766 Breathtaking Views of The Hudson River. 4/7-4/13/18, Hendersonville. M.E. Mike Bailey, David R.
suzia@hotmail.com or Small & Friendly Classes. Becker, Carrie Burns Brown, Kathleen Connover, Robbie
http://visartalliance.org/workshops 5/8-5/11/18, Newburgh. Frank Eber. Laird, Dale Laitinen, Dean Nimmer, Jean Pederson, Richard
5/23-5/25/18, Newburgh. Vlad Yeliseyev. Stephens, Debora Stewart, Jo Toye and Soon Warren.
NEW JERSEY 6/5-6/7/18, Newburgh. Joel Popadics. Contact: Chris & Barbara Hutchison
Tom Lynch 6/12-6/14/18, Newburgh. Tim Saternow. kanugaww@gmail.com or
5/15-5/18/18, Manahawkin. 7/17-7/20/18, Newburgh. Pasqualino Fracasso. www.KanugaWatermediaWorkshops.com
Iain Stewart Contact: Beth Verheyden, vstudios@comcast.net VIRGINIA
4/19-4/22/18, Charlotte. Tom Lynch
Nancy Couick Studios and Gallery.
TENNESSEE
4/30-5/4/18, Fredericksburg.
Contact: 704/541-6944 Tom Lynch
Contact: 630/851-2652
6/5-6/8/18, Cookeville.
NORTH DAKOTA Tomlynch@msn.com or www.TomLynch.com
Contact: 630/851-2652
Andy Evansen Tomlynch@msn.com or www.TomLynch.com WASHINGTON
5/11-5/12/18, Grand Forks. Tom Lynch
Contact: River Forks Watercolor Society TEXAS
9/25-9/28/18, Clarkston.
OHIO Tom Lynch Contact: 630/851-2652
4/11-4/14/18, Dallas. Tomlynch@msn.com or www.TomLynch.com
Tony Couch, AWS
9/6-9/9/18, New Braunfels.
7/9-7/12/18, Oxford. Birgit O’Connor
Contact: 630/851-2652
Contact: 678/513-6676, toncouch@mindspring.com 10/16-10/19/18, SSW Spokane Watercolor Society.
Tomlynch@msn.com or www.TomLynch.com
Robbie Laird Contact: Becky Gromlich
8/28-8/31/18, Pepper Pike.
Jan Sitts beckyswatercolors@gmail.com
Ohio Watercolor Society. 10/1-10/4/18, Granbury. Jan Sitts
Contact: Michael McEnroe, mcenroem@aol.com Lake Granbury Art Association. 9/6-9/9/18, Coupeville.
Contact: Diana, 817/326-5629 or 817/578-1842 Contact: Lisa, 360/678-7420
OREGON Iain Stewart Pacific NorthWest Art School
Art In The Mountains 3/5-3/9/18, Houston.
7/23-7/27/18 and 7/30-8/3/18, Bend. Eric Wiegardt, AWS-DF, NWS
Watercolor Art Society Houston. 3/5-3/8/18, Centralia.
Herman Pekel, Be Brave and Have Fun.
Contact: 713/942-9966 Wiegardt’s Painterly Watercolors.
Watercolor- studio and plein air.
All levels welcome. Texas Watercolor Society Contact: The Rectangle Gallery
8/6-8/10/18, Bend. 4/16-4/19/18, Ingram. Lauri Goldstein-Warren, “Cityscapes creativespace@therectanglegallery.com
Fabio Cembranelli, Intuitive Painting, that Sparkle”. Step by step process will be used to 3/26-3/30/18, Walla Walla.
Transcending the Subject. Watercolor - studio. incorporate reference photos and drawings for each Wiegardt’s Painterly Watercolors.
Intermediate to advanced. project. Concentrating on technique, concept, color, Contact: Kay, 509/529-5574, kfw@bmi.net
8/13-8/17/18, Bend. composition and values. 5/7-5/11/18, Long Beach Peninsula.
David Lobenberg, California Vibe. Contact: twsworkshops@gmail.com Wiegardt’s Painterly Watercolors.
Studio - watercolor. Contact: Wiegardt Studio Gallery, 360/665-5976
All levels welcome. VERMONT watercolors@ericwiegardt.com
8/20-8/24/18, Bend. Tom Lynch
WISCONSIN
Lian Quan Zhen, East Meets West. 7/24-7/25/18, Burlington.
Watercolor - studio. Andy Evansen
Contact: 630/851-2652
All levels welcome. 6/11-6/13/18, Door County.
Tomlynch@msn.com or www.TomLynch.com
8/27-8/31/18, Bend. Contact: info@PeninsulaSchoolofArt.org.
Richard Sneary, NWS 9/24-9/28/18, Dillman’s Creative Arts Foundation.
Ward Jene Stroud, Brusho and Beyond.
Watercolor - studio. 6/8-6/10/18, Paint in the beautiful Mad River Valley Contact: Dillmans.com
All levels welcome. (Waitsfield) of Vermont with award winning watercolor Transparent Watercolor Society of America
Contact: Tracy Culbertson, 503/930-4572 artist, Richard Sneary, NWS. Three days painting. For 6/4-6/8/18, Kenosha. John Salminen,
info@artinthemountains.com or prospectus/application form visit www.valleyartsvt.com Realism Through Design.
www.artinthemountains.com Contact: Valley Arts, 802/496-6682 6/4-6/8/18, Kenosha. Soon Warren,
Robbie Laird Vladislav Yeliseyev AIS, NWS Creating Cut Crystal & Pouring Background.
10/8-10/12/18, Salem. 8/27-8/30/18, Landgrove Inn. 6/11-6/15/18, Kenosha. John Salminen,
Watercolor Society of Oregon Contact: 800/669-8466 or vtinn@sover.net Abstraction Through Design.

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$/9$52&$67$*1(7 Tomlynch@msn.com 630-851-2652
$SULO6DQWD)H10 www.tomlynch.com
2018 WORKSHOPS
0$5<:+<7( February 14 – 17 Punta Gorda, FL
0D\6DQWD)H10 March 13 – 15 Tequesta, FL Plein Air
&+$5/(65(,' March 27 – 29 The Villages, FL
-XQH6DYDQQDK*$ April 11 – 14 Dallas, TX
+(50$13(.(/ April 30 – May 4 Fredericksburg, VA
-XO\ $XJXVW%HQG25 May 15 – 18 Manahawkin, NJ
)$%,2&(0%5$1(//, June 5 – 8 Cookeville, TN
$XJXVW%HQG25 July 14 – 17 Conception Bay, Canada
'$9,'/2%(1%(5* July 19 – 22 Conception Bay, Canada

$XJXVW%HQG25 July 24 – 25 Burlington, VT
/,$148$1=+(1 September 6 – 9 New Braunfels, TX
$XJXVW%HQG25 September 25 – 28 Clarkston, WA
:$5'-(1(67528' Available For Workshops In Your Area

$XJXVW%HQG25
0$5<:+<7(
6HSWHPEHU,QGLDQDSROLV
1RZDFFHSWLQJUHJLVWUDWLRQVRQOLQH
ZZZDUWLQWKHPRXQWDLQVFRP Visit www.ArtAcademyLive.com
Your Online Source For

Art Instruction 24/7

6/11-6/15/18, Kenosha. Soon Warren, GERMANY 10/6-10/13/18, Oils and watercolours with
Creating Silver & Pond Water. Eric Wiegardt, AWS-DF, NWS Vicki Norman (from UK).
Contact: www.watercolors.org 9/15-9/29/18, Lake Constance, Friedrichshafen. 10/13-10/20/18, Watercolours with Tim Wilmot
Plein Air Workshop. (from UK).
INTERNATIONAL Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com
Contact: Bill or Lois on info@watermill.net or phone
+39 327 379 9178. More details at
BALI www.watermill.net/painting-holidays
ITALY
Flying Colors Art Workshops Vladislav Yeliseyev AIS, NWS
Marjorie Glick/Il Chiostro
August 2018, Ubud and Candi Dasa. 6/21-7/5/18, Painting Trip – “Impressions of Umbria” - Two
6/2-6/9/18, Tuscany. This will be a relaxing and inspiring
Ken Goldman, WC. weeks! Join Vladislav Yeliseyev for painting workshop in
painting workshop and artists’ re-treat in the Chianti
All levels of instruction. Region of Tuscany, Italy. We will stay in an authentic 12th a beautifully restored Capuchin monastery from the 16th
Contact: Cris Weatherby, 858/518-0949 century monastery, San Fedele, which has been recently century surrounded by olive groves in the foothills of the
FlyingColorsArt@me.com or restored to modern first class lodging accommodations Apennines Mountains. La Romita School of Art.
www.flyingcolorsart.com while retaining an old-world authenticity. We will paint Contact: Tracy, 202/337-3120
daily, either on site or on short field trips to view charming washington@laromita.org or
CANADA www.laromita.org/workshops-italy-2018/vyeliseyev
villages, olive groves and the beautiful, romantic Tuscan
Tom Lynch country- side. The workshop is offered through Il Chiostro.
7/14-7/17/18, Conception Bay. MEXICO
Artists of all levels and mediums are welcome and will leave
7/19-7/22/18, Conception Bay. enriched by this experience. Flying Colors Art Workshops
Contact: 630/851-2652 Contact: marjorieglick@mac.com or 3/4-3/10/18, San Miguel De Allende.
Tomlynch@msn.com or www.TomLynch.com info@ilchiostro.com Judy Morris, WC.
The Watermill at Posara, Lunigiana, Tuscany All levels welcome.
CROATIA 3/11-3/17/18, San Miguel De Allende.
The 2018 painting tutors at the Watermill are:
Vladislav Yeliseyev AIS, NWS 4/28-5/5/18, Watercolours with Paul Talbot-Greaves Betty Carr, WC.
6/9-6/18/19, Painting Vacation in Croatia with Vladislav (from UK). All levels welcome.
Yeliseyev. Artists dream vacation! Majestic scenes of 5/12-5/19/18, Painting course to be arranged. 10/21-10/27/18, San Miguel de Allende.
courtyards, quaint villages, old stone buildings, olives on 5/19-5/26/18, Oils, acrylics, pastels and drawing mediums Don Andrews.
the trees, and small fishing boats - just a few subjects to with Maggie Renner Hellmann (from USA). All levels welcome.
name. 5/26-6/2/18, Watercolours with Sandra Strohschein 1 Contact: Cris Weatherby, 858/518-0949
Contact: Lynda Milina, +1 613-241-9631 (from USA). FlyingColorsArt@me.com or
contact@slikamilina.ca or www.slikamilina.ca 6/2-6/9/18, Watercolours with Sandra Strohschein 2 www.FlyingColorsArt.com
(from USA).
FRANCE SPAIN
6/9-6/16/18, Watercolours with Sarah Yeoman 1
Marjorie Glick/Concord Art (from USA). Vladislav Yeliseyev AIS, NWS
9/2-9/9/18, Giverny. 6/16-6/23/18, Watercolours with Sarah Yeoman 2 5/27-6/3/19, Painting vacation in Spain with
Contact: www.marjorieglick.com or (from USA). Vladislav Yeliseyev.
www.concordart.org 6/23-6/30/18, Watercolours with Andrew Geeson Contact: French Escapade, 510/483-5713
(from England). contact@frenchescapade.com
Tony van Hasselt, A.W.S.
7/7-7/14/18, Watercolours (and oils, pastels and acrylics)
6/9-6/19/18, Provence. Create a sketchbook journal, take with Terry Jarvis (from Australia).
SWITZERLAND
your watercolors or acrylics and join Tony on this annual 9/1-9/8/18, Pastels with Rebecca de Mendonça and Nel Flying Colors Art Workshops
workshop. Unpack once and start painting in medieval Whatmore (from UK). June 2018, Lauterbrunnen.
Vaison la Romaine and nearby villages. Enjoy lots of 9/8-9/15/18, Watercolours and drawing (also gouache and Mel Stabin, WC. All levels.
painting time and individual assistance. 3 and 4 star acrylics) with Mike Willdridge (from UK). Contact: Cris Weatherby, 858/518-0949
accommodations and most meals. 9/15-9/22/18, Watercolours (and oils and acrylics) with FlyingColorsArt@me.com or
Contact: www.cmaworkshops.com Claire Warner (from UK). www.FlyingColorsArt.com
RIVERSIDE ART
WORKSHOPS 2018
2018 WATERMEDIA
WORKSHOPS
Hendersonville, North Carolina
Instruction - Sun.-Thu.
(April 7-13, 2018)
Breathtaking Views of The Hudson River
M.E. MIKE BAILEY
Small & Friendly Classes DAVID R. BECKER
Frank Eber 5/8-5/11 ROBERT BURRIDGE CARRIE BURNS BROWN
Vlad Yeliseyev 5/23-5/25 KATHLEEN CONNOVER
• Burridge Studio App ROBBIE LAIRD
Joel Popadics 6/5-6/7
Tim Saternow 6/12-6/14
• Free Online Newsletter DALE LAITINEN
• Free Weekly BobBlast DEAN NIMMER
Pasqualino Fracasso 7/17-7/20
JEAN PEDERSON
Fabio Cembranelli 7/31-8/2 • Current Workshop Schedule RICHARD STEPHENS
George Van Hook 8/7-8/8 • Workshops in Bob's Studio DEBORA STEWART
Sarah Yeoman 8/15-8/17 JO TOYE
Giuliano Boscaini 9/25-9/28 SOON WARREN
Iain Stewart 10/22-10/25 www.KanugaWatermediaWorkshops.com
Newburgh, NY 845-787-4167 Chris & Barbara Hutchison, Directors

Riversideartworkshops.com RobertBurridge.com Kanugaww@gmail.com
Open Book
Take Risks
Sydney, Australia-based artist Liz
Steel (lizsteel.com) loves capturing
her life experiences in her sketchbook.
“This quick sketch of the Golden Gate
Bridge in San Francisco is as much
about the fog as it is about the
bridge itself,” she says. “When I’m
working fast, I like putting paint on
the page first, drawing into the wet
paint with an ink pen and then
splashing some more paint over the
top. It’s all about trying to get
expressive marks and taking risks.”
YOUR TURN!
Show us a sketch in which a little risk paid off.
@artistsnetwork on Instagram
#everywatercolor
“OPEN BOOK”
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