PleinAir Magazine


When students of Yong Hong Zhong marvel at his brushwork, the Portland-area watercolorist simply shrugs in response. It’s natural to him. He’s aware that assertively placing bold, dark, or saturated color in the middle of the composition can ruin all the previous work done on the painting. Still, he’s not afraid.

“You have to have an idea of what to say to begin with,” he says. “And then you can’t be timid in the way you use your design, your brushstrokes, or your values — especially in watercolor. Because the medium doesn’t leave a lot of room for correction, you

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