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    Watercolor Artist (Apr-May 2016)

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    CUTE ECU aT Ue) Create 7 Skies With Start Dark ATES RUC TC 0c) CT RODD ey ca TELE) Yee a INSPIRATION + IDEAS + INSTRUCTION WATERCOLORISTS | DOITONYUPO |} o® YUPO Synthetic Watercolor Paper Recyclable | Acid-Free #DoitonYUPO Lh Legion Paper | 212.683.6990 a info@legionpaper.com | www.legionpaper.com, |! ‘YUPO and the YUPO lg are eid trademark of Yup Capen April2016 7th Annual Watermedia Showcase The winners of this year's competition share the secrets— and the greatest challenges— to their success. 34 Don't Be Afraid of the Darks Getting your darkest darks out of the way atthe start can open the door to freer painting and greater drama in your work. 40 Ona Grand Scale Painting large with watercolors can be intimidating, but it comes with big rewards. Paul Jackson tells you everything you need to know to aive it atry 48 A Keen Eye for Observation Blending an impressionistic style with detailed rendering, Charles Henry Rouse demonstrates how to approach a painting one small section at a time. 4 Editor's Note 6 Featured Artists 8 Making a Splash Arts the focus of a new Denver hotel. 12 Creativity Workshop Float pure color onto wet paper and see where the painting takes you 16 Studio Staples Explore three options for saving your whites 20 Meet the Masters William Sommer brought modernism to the Midwest. 61 Watercolor Essentials Create a variety of skies with a quartet of colors. 72 Picture This April online CeCe giro oem See precy on the cover Watermedia Showcase 24 Loosen Up With a Limited Palette 12 7 Skies With 4 Go-To Colors 61 Start Dark for Drama 34, 48 ‘Spent (watercolor on paper, 17421) by Peggi Habets a EN The Art of SENNELIER Watercolor FABRIANO ARTISTICO SENNELIER AQUARELLE RAPHAEL Artistico watercolor paper Sennelier watercolors. have heen produced Raphaél brush series 8404, is surfaces have a versatile, soft in the same way for more than a century ade of pure Kolinsky sable texture that is robust enough to using the best pigments. The gum arabic and hair and features a very fine handle lifting and scrubbing. It Honey combination offers incomparable point for precision, and has a is made of 100% cotton fiber, is quality of application, producing superb superior spring and snap. Raphaél PH neutral, contains no animal washes. This exceptional, very high quality Quill Mop series 803 is made of sizing and features a watermark watercolor will help you make your works ultra-soft Kazan hair holds an on the deckled edge. The 1401b art even more powerful due to the livelin incredit unt of water and Cold Press paper should be a and purty of the hues. The colors mix together yet at the same time has a fine tip, staple ir all artist studios. perfectly offering superbly subsle shades. well-designed for lan An artist deserves the best creative experience Ne For more inj FAIRE Savoir-Faire Wekerecley artist Editorin-Chif Kelly Kane At Director Wendy Dunning Managing Editor Jessica Canterbury Senor Editor Bath Willams Vice Presdent/Group Publisher dame Mare ari arlo@fwcorenty ‘Avortsing Sales ebm Laodor Mary MeLane 170/290-6065; mary mel Asvertsng Specisist Carol Lake duste 1439, caolake@tacommuntycon ein Sal Coosnatr Bar Pit 200/289-0863, ont. 13438; barprtletecommunty.com ‘cting €£0,COOICFO James ale Senior VP, Operations Pil Graham 11315912222 weamagetweommunity com Usicanade: 6o0/st-2836 Foreign subsobers:388/2¢6:3971 watercoleratstmagsaine.com ot ekg nema etd, rochigenp com magne! Intratonly debates by Curis Cleon Co Tel 2016347400. Fx: 20634-7409. ‘gi ese. editor’s note ‘APRIL 2016 always save writing my Editor's Note for last. As my managing editor and art director busy themselves with final preparations before the issue ships to the printer, I quietly retreat to my desk to think about the themes or ideas presented in the issue that most resonate with me or that I most want to draw your attention to. ‘At this point, 'm into my fourth draft. In the first version, I focused on the winners of our annual Watermedia ‘Showcase competition (page 24), recount- ing the incredible talent displayed by this year's entrants and the challenge of narrowing the field to just four winners. (One indication of just how impressive the entries were? We added five new honorable mention slots this year) But that didn’t come close to sharing all of the exciting material in this issue. In the second version, I detailed the interesting twist two of our featured artists put on the traditional method of painting from light to dark. To establish depth and drama in their work from the start, Charles Henry Rouse (page 48) and Laurie Goldstein-Warren (page 24) lead with their darkest darks. Rouse goes on to lay in color one tiny section at a time, with almost mosaic-looking results, Goldstein-Warren proceeds to paint from dark to light, making sure she uses ‘the full value range while limiting her color palette to ensure color harmony and cohesion in the final work. ‘Two other artists in the issue choose limited palettes as well, and they drew the spotlight in the third draft of my Editor's Note. Fascinated by Carol 2. Brody's (page 12) description of her intuitive painting approach, I teased you with details of how she floats pure color onto wet paper, and then, without a ‘thought to subject matter, follows the painting where it takes her. I then intro- duced you to William C. Wright (page 61), who approaches his landscapes with @ palette of tried-and-true gray mixtures that work for almost any sky condition, Faced with the dilemma of so many different approaches to watercolor, you (as I did in my Editor's Note) may find it difficult to know where to focus. Goldstein-Warren says, “Artists... must take influences from various sources, ‘use what works and develop styles of their own.” Expose yourself to all of the ideas and techniques proposed in this issue, then adapt what speaks to you to your own painting style and methods. The joy is in the process. @ Looking for help with your subscription or other reader services? Connect with us at artistsnetwork.com/watercolor- artist/watercolor-artist-reader-services, or email us at weamag@fwcommunity.com. THE SALMAGUNDI CLUB | 47TH FIFTH AVENUE | NEW YORK, NEW YORK ies $15, ut IN CASH AWARDS AND MEDALS O2 dena NATIONAL JURIED EXHIBITION NATIONAL SOCIETY OF PAINTERS IN CASEIN ACRYLIC __ WWW.NATIONALSOCIETYOFPAINTERSINCASEINANDACRYLIC.COM ENTRY FEE: NON-MEMBERS, $20. DEADLINE: MAY 7, 2016. A COPY. OF. THE PROSPECTUS, VISIT OUR WEBSITE OR SEND SASE TO: D. WELS, Ct SECY., 1710 FIRST AVE., #245, NEW YORK, NY 10128 JURIED BY DIGITAL SUBMISSION ONLY. artists Carol Z. Brody carolebrody.com Carol 2 Brody (page 12) has been painting works have appeared in Splash I, Artiste Touch her signature membership nthe Nationa Wetercolor Society, Transparent Watercolor Society of America and Watercolor West, She teaches and juries shows around the county Laurie Goldstein-Warren warrenwatercolors.com Originally trom Now York, Laure Goldstein: Warten (page 34) now lives in West Virginia. A selftaught artist she has developed her own unique approach to palting with watercolors and acrylics. Her work has been exhiited inthe United States, Japan, China and Turkey. She juries exhibitions and teaches workshops across the United States, wie Paul Jackson pauljackson.com Paul iackson (page 40) has takon tos ting was ideal for capturing references fora giant Wotercolerist (Chameleon Press, 2013) ang Painting Sectocular Light Efects in Wotercolor (North Light Books, 2004. Look fer his video workshops at artstanetwork tin June 2016, Thomas J. Owen thomasjowen.com Thomas J. Owen's work (page 16) ranges from landscapes to hguratve paintings. An artist and teacher for more than 40 years, he finds aubjects that are often overlooked and presents them ina fresh way A signatu member of the American Watercolor Society, Owen has won more than 60 awards in Charles Henry Rouse charleshenryrouse.com Chaves Hemty Rouse (page 48), of San Diego, spent decades as owner ofa graphic design company and taught art ata local college foc mare than 25 yeas. He ow spends his time painting end traveling. He's a signature member of the American Waterealor Society, Watercolor Society of America and others. William C. Wright wiliamewrightstudio.com Wiliam. Wright (ag@ 61) has been a profes sional artiat fr more than 35 years, panting, ina transparent watercolor style. His work has eared in numerous US. galleries, compet tions, books and magazines. Ho's a signature member ofthe American Watercolor Society Baltimore Watercolor Secity and Mig-Atantic INTRODUCING TWO COMPLETE DOUBLE DVD COURSES BY INTERNATIONALLY ACCLAIMED PAINTER STEPHEN QUILLER COLOR FOUNDATION WATER MEDIA FOUNDATION FOR THE PAINTER FOR THE PAINTER 13 Chapters 8 Hours of Viewing Everything an Artist Needs to Build a Color or Water Media Foundation rere ra EACH SET $99.50 - WWW.QUILLERGALLERY.COM - 1-800-876-5760 y WS SU Nel SS a eda Sn oye rn Marine Set ee ee Cee Cee ae ee ecu a) Cee eee te eC ee aR ar PL eet Mee et eer water-soluble with immediate effect. The pigments feature optimal transparency with no veiled effect. The high pigment density creates brilliant and vibrant colors with exceptional lightfastness. Apply wet or dry. Ce eI eee PRICE a eM eM eM Or SA ECM eT RO Ly CE CuC ou) Now serving Canadian retailers | [J making-a Room With a View A new high-end hotel adds modern art to the accommodations [nite bariatite ie ten y's museum district, ust a quick walk from the Denver Art Museum, and Clyfford Still Museum, is a new luxury hotel that doesn’t just offer a place to rest your eyes, but a stellar art collection upon which they may feast. Open since June 2015, the ART Hotel features more than 40 pieces by esteemed contemporary art ists—Claes Oldenberg, Tracey Emin, John Baldessari, Ed Ruscha, Deborah Butterfield, Leo Villareal and Sol LeWitt, to name a few. Selected by Denver Art Museum's longtime curator of modern and contemporary art, Dianne Vanderlip, the showcased art—some of it commissioned specifically for the hhotel—begins on the street, continues in the main elevator and encom passes two galleries, meeting spaces, hhallways and each guest room. The room names are artinspired as well, with offerings such as a canvas room or atelier suite, and the individual guest spaces display works from each floor’s designated artist. suite atthe AST Hotel showcases Claes Oldenderg ‘The concept exemplifies “experi- ential living,” according to general ‘manager David Bodette, “The ART is reflective of Denver's new role as the West's epicenter for visionary thinking," he says. ..."[l] contains a collection of modern and contem- porary works and expressions of this very same passion, vitality and refusal by these world-class artists to succumb to the mundane” Find more information about the hotel and its art collection at ‘thearthotel.com. Watercolor News & Views 1" ‘One's art goes as Far and as deep as one's love goes.” spring (art) awakening Want to speak up for the arts? Join other arts sup- porters and cultural and Civic organizations from around the country March 7 and 8 in Washington, D.C, for Arts Advocacy Day, a chance to get in front of legislators and drive home the importance of increased public funding for the arts and strong public policies. Can't make it to the Capitol? Use #AAD15 on social media to spread the word about Arts Advocacy Day. ansforthearts.org/ events/arts-advocacy- Page-Turner ‘Take an armchair lesson at New York's preeminent art school. Art Students League of New York on Painting: Lessons and Meditations, on Mediums, Styles, and Methods (Watson-Guptill, 015) includes demos and advice from 18 Art Students League instructors—two of them watercolor greats Frederick Brosen (‘Classic Watercolor Realism") and Naomi Campbell ("Working Large in Watercolor”), Written by artist James L. McElhinney, the book is an insightful, inspiring read. $35, Look fora collection of articles from artists featured in this book at northlight shop.com/art-students-league-emag. IE MA alei%4 Pao ee erie eo) publicists, gallerists, art journalists and artists International Art English, feacre nc) coo eeret ae ce ccas eee? ere Is has SSC ancy By oeu: 7 ae eloping a video installation and a series of artwork that comments urrence, Claps says in the film's trailer that he b ea eee eat erences ai 5 eee cance Bauer eee on Dee aca cal Los Angeles On view forthe frst time in the United States (at the Getty Villa through February 15), Greece's Enchanted Landscapes: ‘Watercolors by Edward Dodwell and Simone Pomardi features 44 illustrations created in an effort to document early-19th-century Greece and preserve its legacy. Edward Dodwell English, 1777/78 1832) first explored Greece in 1801, then returned in 1805 with italian artist Simone Pomardi (1757-1820) “They toured the country for 16 months, drawing and chronicling the landscape, producing around 1,000 watercolors and drawings of the Greek countryside. These picturesque landscapes portray, as Dodwell put it, "the delights of the present and recollections of the past.” Curator David Saunders notes the gravity of the time in which these images were created, before Greece's independence from Ottoman rule. “The sight of ancient temples lying in ruin, or of the Greek people under Turkish rule, contrasted poignantly with nos talgic imaginings of the classical past,” he says, “Yet for Dodwell and The Parthenon, ‘Athens after 105; watercolor, e200, by Eduard Dodiwell, opiets the structure ust after Lots gin ofthe Ottoman Empire, removed neatly halt of ts remaining sculptures Pomardi, such juxtapositions only ‘magnified the lost splendor of Greek antiquity.” J. Paul Getty Museum Director ‘Timothy Potts sees value in show- casing the works at the Villa, “Displaying them at the Getty Villa, alongside our unparalleled collec- tions of Greek, Roman and Etruscan art, allows visitors to experience these unique images in a particularly appropriate setting,” he says. ‘The items come from the Packard Humanities Institute archive, the Getty Museum and the Getty Research Institute, getty.edu @ Cia amano ie Pence) artistsnetwork.tv ART WORKSHOPS ON DEMAND jinting at your own pace. Watch the best art instruction videos from yout dio. At ork.ty you'll fi fessional artists + The widest variety of mediums, subjects & skill levels available cnline + Great value! Monthly or yearly access—choose what’ right for you © 24-hour access to art instruction from any int connection Aiea a ancl aa oleh ON Re et eee Oe raed rou the Publishers of North Light Books snd Watercolor Artist creativity workshop Creative Instinct Intuitive painting lends itself to expressive color. \Whon | lived in Now York, whore there wore four distinct seasons as opposed to1my current Forida locale, | often found that | wanted to paint wintor scenes in the summer and vice versa, ‘By doing this, Iwas able to distil the leesence of my subject and convey what originally gave it special meaning ‘tome, Such i the case wth Birch Trees in Auturm (watercolor on paper, £22430), in wich | interpreted the mood (ofthis tranitonal time of year using nontracitional color. 12 watercolrartistmagasinacom Piristngintitvey has ong been a goal of artists. As we work, we hope to find the flow and magic that result when a painting seems to paint itself. This can happen when ‘we're able to trust our instinets and just let go. Truly feeling comfortable working this way requires knowl- edge of the components of a good painting—form, balance, contrast, composition and color. Yet coloris a highly intimate, personal aspect of painting, and it often touches the viewer on an inex- plicable emotional level. When Tegan painting, first in oil and then in watercolor, I was lucky to study with teachers who were colorists, dhighly in tune with the impact that color could have in a painting. They taught me to become responsive to color, to feel the excitement that results from using and combining various colors, and to react toit as I painted, I also learned that using a limited palette and unconven- tional, or nonlocal, colors could free ‘me to paint more intuitively—and strengthen my work. (See “A Limited Palette” on page 14) Today I consider color to be one of the primary con- cerns of my work, and it contributes greatly toa piece if used well. ‘My paintings reflect my love of color and my fascination with texture, and are often tied to some aspect of the natural world, They begin as a flow of feelings, intuition and spirit. Rather than carefully con- trolling my paintings, allow them. to grow and emerge, and to suggest their forms, which I develop through many layers of glazes. Letting Go {don’t work from photographs or sketches, although I'l sometimes look through my archives to find inspiration, Something will click in ‘my mind, and I'l be ready to begin to paint what it was that excited and inspired me. Working this way allows me to express more of myself in my paintings. usually begin a painting by wet- ting the entire surface of the paper with water and then floating in pure, ‘unmixed colors. I don’t draw or make a value study; instead, | prefer to indicate the general rhythm of my composition by using my hands ina sweeping motion. !look at my palette to see which colorecalls to me at that moment and just jump right in, react to what's happening on the paper to make decisions about what the next colors will be, or where to BY CAROL Z. BRODY | wanted Ethereal City (watercolor on paper, 22x30) to portray the pulse and rhythm of city, yet | appealed to the viewer's imagination by keeping parts of ithazy and instinct. place the next forms. By establish can immediately lift off an offending ing my overall color scheme andthe _color or make modifications before general composition of my work with _the paint dries. Lalso can take advan. the initial wet-into-wet process, 've _tage of unplanned color mixtures or provided myself with a loose road odd quirks, which are so much a part map for what will follow. of watercolor, and let them lead me By using this technique tostarta _innew directions, painting, [can take risks and allow Although this first stage is a bit myself to ‘feel’ my way as go, since frantic, with no real time afforded to CoCr ane neni CRC Mae eke ee) ake ker a) Se eee esse ne-year subscription (or ren deadline is April 15. Antunes? | Wot 2016 18 creativity workshor stop and think about what I'm doing, it’s where I'm working most intui- tively, I try to trust my emotions and ability and not worry about problems I might be creating. I tell myself, I'l deal with that later. This part of the painting is the most fun, a truly happy time of letting go that’s full of possibilities and unexpected beauty. ‘After the underpainting dries, apply a series of glazes and then alimited palette Most likely, you base your palette on local color, or the actual color of the subject. A limited palette, however, forces you to experiment with various color schemes. It cre- ates moods and emotions that are often more interesting than those elicited by local color. A limited palette offers a creative way to sort out and approach color, and it increases your understanding of value and color harmony. The choice of color is called a color scheme, and if chosen well, it creates color harmony. Color harmony provides unity to the painting and imparts your per- sonality to the overall feel of the work. The choice of subject also may dictate how you choose your limited palette. Be willing to try various color schemes, such as the four mentioned here, and change individual colors to suit your taste and the desired outcome. Excerpted with permission trom The Wotercolor Bible Pointing Tips ond Techniques forthe Boginar by Joe Garcia (Worth Light Books reprint edition, 2014). use negative, or subtractive, tech- niques, such as lifting with a damp sponge, to remove some of the paint in order to build shapes and define forms. This is a slow process, during which I continually ask myself, what does this painting need? And what do feel about this painting? I think that this reflective self-dialogue is the most important part of painting intuitively. Monochromatic Palette A one-color palette forces you to think about using correct values in your painting, This sketch, painted in mauve, has a wide range of lights and darks; a light-valued hue such as cadmium yellow or raw sienna wouldn't have the range of values needed for a monochro- matic painting. There's always color harmony when a monochromatic palette is used. Talso look long and hard at the work in progress, often placing iton the floor with a mat around it. As Ido this, the forms seem to present themselves to be defined, Occasionally, I'll place a sheet of colored construction paper on my painting to help me envision a color or shape in a particular area, also use my fist or fingers a great deal, either to block out a possible & ® ‘Complementary Palette To create a complementary pal- ette, add one complement or near complement to a monochromatic palette. Because these colors are ‘opposite or nearly opposite on the color wheel, they provide the stron- gest contrast. Create additional contrast with value changes in the mixtures. The grays made by mi ing the colors create a harmonious color scheme. offending area or to indicate where I want shapes or emphasis in a paint- ing. Fingers held this way or that can even help me visualize the direction of elements in a piece. In using my hands, [believe I'm responding to my work in a physical way, engag- ing another of my senses in a ‘dance’ with the painting. I'm not completely aware that I do this, but my students say they find it fascinating. Analogous Palette The analogous palette is an expanded color scheme using three of four closely related colors. The close color relationship creates color harmony. There are no com- plementary colors in this palette to mix grays or dull any of the colors. Because the colors are closely related, a color bias is established, The bias will be either warm or cool. Contrast is established with values. Imake a lot of changes to my ‘work as it progresses, either by add- ing or lifting out, to develop it and to correct mistakes. Doing this has given me the confidence to trust my instincts, Not every painting turns out to be a success when I work as I do, but I wouldn't trade in the rush. of energy and high excitement | feel as [begin a work—and [hope they're evident to the viewer. @ ont. Analogous-Complementary Palette ‘Adding one more color (a comple- ment or near complement) to your analogous palette opens up ‘a wide range of possibilities. You now have color available for p and contrast, including numerous vibrant grays. The addition of this complementary color gives an over- all feeling of color balance and is, 2 good color scheme to try before taking the next step into full color. Cartan hte | hp 2016 16 subscribe PERS SEE sae . PT ag studio staples The Urge to Preserve Save your bright lights with masking tools suited to achieve a variety of shapes and edges. AAA cner iinet Fortunately, there are many saving light areas AW scctrigvsseighecgme’ actos St eine rork for a variety of | masking Auld or lguid particularly if you like to paint fast and loose, can be a challenge. frisket; film; masking or drafting tape; drawing gum; wax; rubber The lights of the sour cherry tree blossoms in Prunus Cerasus (watereoler on paper, 29429) were frst painted using masking fu cement; wax paper; and even, household items used as resists. My personal preference is to start with a loose, soft-edged underpaint- ing and then mask areas that I want to preserve as lights with masking tape and masking fluid. 1 also mask to remove paint by positioning tem- plates made of transparent, colored plastic sheets over an area and then scrubbing out the color within, Working With Masking Fluid {began my painting, Harbor Boats (at right), by drawing the boat outlines in peneil on Fabriano Artistico ‘40-Ib, rough paper, Then I painted Pebeo masking fluid on the areas that I wanted to protect, such as the boat masts and sides and some water reflections (A). To protect my brush, wet it first and then dipped itin the masking fuid, rinsing the brush in water after each applica- tion. I've found that masking fluid is best for small areas like lines, intricate shapes and water effects. ‘There's a limit to how long ican leave it on the paper, however, after more than a day, it becomes too difficult to remove. It usually rubs off easily with my fingertips, but a kneaded eraser works too Once the masking Nuid was dry, [started painting the boats wet-into- wet L achieved the soft focus on the masts and riggingby drawing them on damp paper with Derwent watercolor pencils (B). I was nearing completion with the painting when I removed the ‘masking uid and added shadows and detailed texture tothe boats (©). 1've also used masking uid in water scenes to outline the surf, task out birds and leave white space for detailing wet sand reflections. Using Masking Tape Masking tape is handy when you want to preserve large white areas of the paper. Just as with masking fluid, you BY THOMAS J. OWEN ‘color on paper, 21:28). Image A shows where | painted the masking; Image 6 shows the work In progress a8 painted wetinto-wet over the ary fi. don't want to leave the tape on the paper for more than a couple of days. ‘Also, when removing the tape, the paper needs to be dry or it can tear. started Cherry Valley Barn (on page 18) by drawing the barn struc- ture in pencil on Fabriano Artistico 140-1b, rough watercolor paper. Then I tore strips of Scotch masking tape and applied them to the dry paper along the roofline and in other areas that I wanted to leave white after my underpainting dried (D). Ithen painted washes wet-into- wet below the roofline to give the barn form and texture. When the paint dried, I removed the tape and washed in shadows on the barn, painted the sky, and added details to the window and fencing (F). Astana st | AN 2018 Usiranasting ape resist hepa to create sharp edges, fs seenin the root ofthe balding in Cherry Valley Barn (watercolor on paper, 1122). Lereated the birds in Flying Out (watercolor 09 paper, 15:22) by femaving pain with 2 Mr. Clean Magic Erater and a paper towel Plastic Sheet Templates and _by cutting a variety of fying bird __—_‘To prevent shapes from looking the Magic Erasers shapes out of a red plastic sheet same, Irotated the template and Before I finish a painting, some- using an X-Acto knife. Then [placed varied the details when I painted times I like to add details by the sheet over the painted paper, _them in later. removing paint, as I did in Flying softened the paint with a moistened Masking can prove to bea use Out (above). After I brought this Mr. Clean Magic Eraser and gently _ful watercolor painting tool. If you painting to near completion, I rubbed over the surface. While the haven't already, give ita try. Itjust added birds using a template to paper was still damp,! mopped up _might ada that extra sparkle you've remove paint. Imade my template _the paint with a clean paper towel. been missing. @ SPRING 2016 TWO SESSIONS February 28 - March 5 March 5 -11 Featuring a variety of world renowned artists! Springmaid: Myrtle Beach, SC eee) ingmaidWatermedia.com RINGMAIDWATERMEDIA.COM Reve “The Finest Quality Handmade Artists’ Brushes “Ws not just a brush, ith an ex A ritual. Its life changing and its your life —=» Pure Red Sable - Series 7320 —iri Golden Synthetic - Series 2250 ——_— Pure Red Sable - Series 46 erience, Pure Red Sable - Series 99 Golden Synthetic - Series 301 Pure Kolinsky Sable - Series [/ ure Squirrel Hair Mop - Serer 170 “Brushes not shown actual size “Fo USA Dollar ries plese vis our website Request ‘your FREE catalogue today! — +44 1535 632666 E De ae PGC eect s/he masters Midwest Modernist With influences from Expres: William Sommer put his un: illiam Sommer was known for having such a strong person: ality that many in his coterie found it natural that his art didn't singularly imitate one artist or movement. Born in 1867, he was somewhat of a late bloomer, hitting his stride in his 40s as one of the first artists in the Midwest to embrace early modernism. William Sommer (American, 1867-1049) ioni: iqu An Ohio Pioneer Living, working and painting primar. ily in or near Cleveland during his, professional years, Sommer helped to form the Kokoon Art Club in 1911. It consisted of artists in the Cleveland area, many of whom worked with Sommer as commercial artists at the Otis Lithograph Company. Previously, ‘Sommer had lived, worked and painted in New York City and then for a year in Munich. During this time, he was influenced by the formation of the Kit Kat Club in New York City, a bohemian spot for avant garde artists ‘The Kokoon Art Club was a more raucous group of artists than other ‘more formal societies or schools in the area. Yet these members weren't opposed to sharing work and ideas with younger, internationally known Cleveland artists such as Charles E, Burchfield (American, 1893-1967), Burchfield described Sommer as an excitable, overgrown child and admired his work. Sommer thrived off the art created and shared in m, Cubism and Fauvism, spin on landscapes and portrait the club—as well as in the social imbibing. Tired of his early-morning drunken drop-offs by friends, his wife, Martha, left him for a month. Upon Sommer’s pleading, she returned to continue her endless domestic support. The family moved toa farmhouse located between Cleveland and Akron, which sus: tained Sommer's penchant for painting cows, landscapes, and por- traits of Martha and their three sons. ‘The artist continued, however, to be an active member of the Cleveland art scene, Like Burchfield, poet Hart Crane, who lived in Cleveland in the 1920s, was also a close friend of Sommer’s. Crane was 30 years younger than the artist, but admired Sommer's constant impulse to create, and was inspired by their animated talks on poetry and philosophy. Sommer drew a matchstick portrait of the poet, making him among the first artists to use a burnt matchstick asa drawing tool with India ink. Crane in return wrote poems for Sommer. meet the master: A Thirst for Knowledge Sommer was known to read, study and view as much literature, philoso phy and art as possible, digesting ideas and creating an instinctive watercolor style. Many artists responded to the uniqueness in his work: t was ofthe time but elevated with his own vision, Sommer's wort wasn't abstract like that of some expressionists he admired, buthe did exbrace their expressive color, lines and forms, He tapped into the energy of the white ofthe paper and its contribution to form and light in his watercolors. He liked a deliberate sense of the unrefined in his work, as it housed expression and energy, par- ticularly in his watercolor figures. He often painted with a flat- tened composition, a technique he admired in Matisse and Gauguin's work, And he relished cubist shapes he absorbed from Braque's art. The form of the lines of one figure would rhythmically appear in another figure. ‘At times, he was influenced by the deep, natural colors of Fauvism, and perhaps even the dream-like juxtapo- sition of Surrealism. ‘The art world of the "30s and early "40s rewarded Sommer, including him in exhibitions at the Whitney ‘Museum of American Art, the ‘Museum of Modern Art, the Brooklyn ‘Museum and The Art Institute of Chicago. He was constantly inspized by what was around him, and wrote in his journal, "You can't take it with you-not even yourself. You leave it all behind." @ CARRIE OEDING (carrieoeding.com) is an assistant professor of English at Marshall University SAUX SQUIRREL ‘A Techno-Synthetic fiber that looks and performs like wal Squirrel hair but as a socially responsible synthetic ubereed and coning for come nd erate andy aerate its Drain Satyr nd sn ras 1 Ask your local tase goon fr Poet Say Bae artists network Ta Se a a CaO NS Sein a hd WORLD-CLASS TEACHERS VISIT ArtistsNetwork University.com today to review upcoming courses and see how you might take your art to the next level WetGanvosLive! ONLINE-ARF COURSES.WITH: JOHANNES VLOOTHUIS~ Mix fire and warer. The best thing about watercolors i their simplicity I voryiitie stands between artist and pigment. Because IMPROVE YOUR PAINTING SKILLS! Learn painting essentials from popular art instructor Johannes Vloothus, ashe shares his Fy TPE, Sch ersten cx mace simple, effective approach for painting Wee a variety of landscape elements. He can help # Miers even len sald between you and the brillant color pigments present. QoR offers superior Clarity and intensity, while retaining the subtlety ond beauty you expect from watercolors. QoR is not just new, itis modem watercolor, you become a better artist, no matter your medium or skill level Visit ArtistsNetwork.com/WetCanvasLive to register or for more information. ORE THAN 20,000 ATTENDEES QoRcolors.com See your work in The Artist’s Magazine! Compete and win in 5 Categories! "$24, 000 IN CASH AND PRIZES! * PORTRATT/FIGURE += LANDSCAPE UG A sri uiresmvrerion Winners will be Nine finalists wil be show- Twele finalists willbe» ANIMALAWILDLIFE featured in the Jan/ cased in the magazine's featured as Artist of « ABSTRACT/EXPERIMENTAL Feb 2017 issue of The Competition Spotlight the Month on our Artist's Magazine, feature. Let fans of your website, which see Jurors: Candice Bohannon, Student winners will work learn a bit more hundreds of thousands Duane Wakeham, Olga Antonov, be featured in the about you—and your Of visits per year—more avid N.itler and Donna Watson December 2016 issue. inspiration. eyes on your work! For complete prizes, guidelines and to enter online, visit Watermedia Showcase Best of Show Hsiao-Hui Huang New Taipei City, Taiwan Enchanted With Venice (watercolor on paper, 21/285) My early works were painted in a realistic style, but in recent years, I've started to emphasize the succinctness of the composition. I focus on the wholeness of the scene, using more toned-down colors and a sketchy effect. In Enchanted With Venice, I tried to let go, creating freestyle strokes and forming shapes I like, versus crafting a detailed description of the scene, ‘The reference material I use to create 2 painting often occupies 50 percent of my draft; the other 50 per- ccent comes from my imagination or artistic preferences. I remove awkward and unattractive objects to suit the compositional needs of my paintings, and relocate objects to create balance. Sometimes emphasize the changes in light and shadow in key areas and weaken trivial areas to create space and atmosphere. To achieve aesthetic harmony, I coordinate color tones in a single space rather than have vibrant colors everywhere. In this piece, I intentionally let colors merge into one another to create the mist and dim lights of Venice. Only when Ilet go of the realistic forms that my eyes saw could I focus on the sense of beauty I wanted. Igradually build up layers as I paint—wet-into-wet most of the time, but also by glazing, It’s a very time-consuming process, but the end results are worth it. 've been particularly influenced by the classical period of British watercolors—Thomas Girtin, John Sell Cotman, William Henry Hunt—and Edward Seago. What I adore is the purity of a beautiful composition that doesn't show off color or the artist's technique. began to participate in competitions internationally in 2014, and I've been lucky to get a few awards. I'm happy, of course, but I also know that 'm my own harshest judge. Only people with self-awareness grow stronger, We started with nearly 1,000 works in watermedia and, entry by entry, we whittled that number to 19 exceptional paintings. This year’s crop of winners and honorable mentions exemplifies incredible ingenuity, marvelous craftsmanship and watermedia mastery. BY KELLY KANE. Chien Chung-Wei | New Taipei C: 1 Rained Just Now (watercolor on paper, 19%29%) ‘The shapes of the houses and the lines of the street poles created a perfect composition. I layered washes to tone down colors and create ambience. The watermarks added to the after-rainfall atmosphere. Tonal values give a painting its magical power. Just like a beautiful girl doesn't need luxurious clothes to make her shine, a good arrangement of tonal values that strikes equilibrium in the picture can make the painting a success—even without the aid of colors. On the other hand, if colors lack support from tonal values, they'll be like a man without a soul or a zombie wearing gorgeous apparel, ‘Once you possess the abilities to ‘discover' and ‘create’ beauty, you'll break down all resistance, sweep away all obstacles and succeed in whatever you do. The ability to ‘discover beauty’ is decided by your aesthetic cultivation of an image versus what's dictated to you by a camera or sketchbook. The ability to ‘create beauty’ is decided by your practical painting experiences rather than the particular brush in your hand. I don’t care too much about what my subjects look like in reality or photographs. I strive to discover, strengthen and beautify the intriguing forms | observe—abandoning those elements that don’t fit my vision. Editing in this way is the most fascinating—and most important—part of painting. ‘There are three key indexes of success in my work: artistic conception, composition and execution. Artistic conception is my idea of beauty; composition is the design of beauty; and execution is the rendering of my subject and the expression of my materials. These three characteristics must complement one another and integrate perfectly. Peggi Habet: P Spent (watercolor on paper, 721) ‘his painting is part of a series Treated for a group exhibition titled ‘upStage: An Exploratory of Dance’ As I was taking refer ence photos for asked my model, a dancer, what she felt like at the end of a long rehearsal, and her response was this pose. Istart with photos o sketches, which { move, crop and combine in Adobe Photoshop. Working with tracing paper and pencil, I draw several value sketches until [find one that has the impact Twant. From there, I paint one or more small (6x7) color studies. I now have a mini painting to follow, a road map of sorts. Ironically, all this planning allows me the freedom to paint more should be. I work really hard to stick to a daily painting schedule, even ‘when I'm not feeling inspired. This allows me to balance family and work, which is very important to me. [also try to attend weekly figure drawing sessions to keep my eyes and drawing skills sharp. 1 dab, push, pull and swipe with the brush to get the effects I want, [ike to lose ‘edges and obscure backgrounds for interest, but [also keep my focus on the glance, gesture ‘or mood that moved me to paint the subject in the first place. Tusu ally enter three or four international juried exhibitions per year. 'm constantly reminded that I should never take myself too seriously or be too hard on myself. There's always a juror who will reject my work and another who ‘will award it. Competitions keep me doing my absolute best work, Kathryn Keller Larkins | New York LGA_MSP I (watercolor on paper, 518664) TON: I was inspired by the idea of journey, of where we stay and where we go—and why. 'm interested in the individual experience within the group experience, and in how we move in groups and alone. To me, airports are places of incredible emotion. Loss, reunification, opportunity, anxiety and reflection all seem to be present as people are transported to and fro, Tusually start with a photo I've taken or a very rough sketch 'm often looking for an atmosphere to capture rather than details. {then add in the darkest tones to establish value contrasts early on. 1 also use spraying, dragging with a large brush, spattering and dripping techniques to build up a rich surface. Recently, I've been exploring the use of a limited color palette. I'm interested in the contrast, form and behavior of light that show so well in black-and-white images. I've algo been working on a much larger scale. This painting is 7 feet long. Ilike viewers to feel they could enter the image. Iwas work- ing in some darker values after establishing a lot of mid-tones, and two or three stray drips from my larger brush became the incoming and departing airplanes in the distant sky. Watercolor is often about letting the paint ‘move organically and letting the work almost paint itself. ‘Many people never guess that my work is watercolor. [leave areas of transpar- ency, but I also apply a good deal of near-dry brushstrokes of tubed watercolor, which create a texture that many don't associate with the ‘medium. I work on Arches rough, and I like to let the paper texture remain visible. Watercolor hhas a lot of possibility that can be explored beyond its use as a sketch medium, Itwas ‘a great honor to be awarded the American Watercolor Society's [AWS] Mary Bryan Memorial Medal in 2012, I was humbled to connect with watercolor artists from all over the country at the AWS show, and to feel that community of fellow watercolor explorers. For ime, the process of entering competitions was part of learning to prepare my work profes sionally and to bring my work from a focus on process into a focus on dialogue. James Maria Zhou Tianya|Shenzhen,China Anne Hightower-Patterson | Leesville, S.C ‘Mother (watercolor on paper, Sx) Fishermen's Tales (watercolor on paper, 22122) William G. Hook Behemath ( Detroit in Sepia wa Graham Flatt | Sask na ‘Twilight Raiders (w Andy Evansen | Hastings, Minn Golden (watercolor on paper, 1x18) Jason Sacran | Fort Smith, City Limits (ecryle on paper, 2 Anne Abgott | Cortez, Fla Off sth (watercolor on pape, 30 Xi Guo | Savannah, Ga. ‘The Last Slep No. 2 (watercolor on paper, 20129) Lisa Jefferson | Incline Villa Wrapped Peppers (watercolor on paper, 22x30) eda Showcase winners at artistsnetwork.com/medium/watercolor! watermedia-showcase-winners-galleries Revisit pas Keiko Tanabe id Kathleen Conover Peace Talks (watercolor and 3 Peto Poghosyan | Yerevan, Armenia ‘To the Church (watercolor on paper, Sx) Elaine ‘Seaside Shanty (watermedia on paper, 30 When out for dinner with my husband at @ Irae statues i tho took a quek photo for Enlightenment reolor and paper, 20x34) in three layers from dark te light, then lots of detailed ‘masking and some t took me years to put my finger on it—the reason certain paintings felt lackluster despite being expertly drawn or luminously colored. The explanation for what these works were missing, I came to realize, could only be found in the dark values, Like most of us, 1was taught to paint water: colors from light to dark. But by the time 'd crafted a well-drawn composition, meticulously saved my whites and established gorgeous lights, 1 was afraid of adding the darkest darks. I didn’t want to ruin all that good work with an errant stroke of arguably the scariest values on the scale. I recognize that same apprehension in many paintings I now jury for exhibitions. I've learned that the best way to overcome this hindrance to a truly successful painting is to face my fears head-on and go straightin with the darkest darks. I begin a work by establish: ing my values & and 9. Between these darks and the white of the paper (value 1), then have a clear path to building my middle valuesywhere I-and most other watercolorists—feel most comfortable. In this way, I get the difficult stuff over at the beginning and then relax into the rest of the painting, Choose Colors Wisely Although I strive to use the full range of values in a painting, I prefer to keep my palette limited I produce paintings done entirely in transpar- ent watercolor and others done exclusively in liquid acrylic—and sometimes I mix the two. use acrylic paint when I want a passage to stay exactly as it seven when dry. Whether I pour ‘a wash over it or drop water on it, the passage will remain the same color and value. !use watercolor paint when I want to create softer edges or use glazing to build color and value. With just four colors—a red, a yellow and two blues—I ensure that my paintings exhibit cohesion and color harmony. For my watercolors, Tuse Daniel Smith quinacridone rose and quina- cridone gold, and Winsor & Newton cobalt and Antwerp blue. (Very rarely, when I need spots ofa true value 9in a painting, Ladd Winsor & Newton lamp black) For my acrylics, use Golden Liquid Acrylics nickel azo gold, quinacri done red, cobalt and phthalo blue (red shade) Build an Arsenal of Techniques T begin a new work by frst drawing the entire image on my 18x24-inch 300 Series Strathmore - artist's toolkit Watercolors: Daniel Smith quinecrdone rose and quinacridone gold Winsor & Newton cobalt, Antwerp blue and lamp black Fluid Acrylics: Golden Liquid Acrylics nickel azo gold, quinacridone red, cobalt and phthalo blue (red shade) Palette: butcher tray Brushes: Robert Simmons watercolor brushes in sizes 12 and 14; a Winch flat by Silver Black Velvet; and a variety of inexpensive brushes available in sets at any local art store. | keep three con- tainers of brushes in my studio. in the first, | keep new brushes for watercolors; when they become inadequate for watercolor, | move them to my acrylic brush container and use them there for a while When they've run their course there, they go into my masking fluid brush container; after that | toss them. | also use a §-inch house- painting brush for laying down large washes and for uniformly wetting my paper. Paper: Fabriano Artistico Bright White, 30x22-inch or larger, 140-tb. cold- or hot-pressed Misc.: 18X24-inch Strathmore 300 Series drawing pad; masking fluid; No. 2 pencil, graphite paper; thin black marker; mouth atomizer ured underpainting for Polished watareolor an uid aerylc on pape 30) looked dull when I ied. Instead ping the painting, | hung it vert cally rom a piace of Pexigla in my studio andl started dripping and scuriing Kaui cyl paint in complementary colors ‘of values let the colors dry some, then used my spray bottle onthe “stream setting to spray of lines ofthe paint. When keg what 1 et de. erpantng for NYC Reflections 20122) was poured in two layers with painted The Kiss (watercolor on 3222) twice. wanted an earthy Feel pretty paid homage to Gustay Kim's Sion while updating the patterns of the cloth wrapping the fgures and incorporating the tattoos on my models’ skin afull value range with three colors Step 1: | started Solitude with a detailed sketch on a large sheet of paper from my drawing pad, joining like-valued elements into one large shape (for example, the bottom of the subject's beard and his shirt). went over the lines | wanted to transfer to my painting surface with a thin black marker. ‘Stop 2:1 made three large puddles of watercolor (a lot of paint and very little water): quinacridone rose, quinacridone gold and Antwerp blue. | then moved quickly to drop the colors into the dark value shapes, allowing them to mix on the dry paper. Using this method, | covered every value 8 and 9 shape, and then I let the paper dry completely. Step 3:1 added my value 7 shapes, painting over any value 8 or 9 areas within these shapes. The effect is somewhat softer edges on the value 8 and 9 areas and a smoother value shift between values 7, 8 and 9. Step 4: With this subject, most of the values 3, 4, 5 and 6 are in the face. | started with my 6 values along the edge of the cheek, then let the area dry. | then painted my 5s, let them dry, and so on until the face was complete. For portraits, when | get. to my value 2s, | run the colors in a watery glaze over the entire face to soften the value shifts within. At this stage, | also laid in ‘some of the mid- to light values in the subject's jacket and hair. ‘Step 5: When the entire subject was painted, | wet down the background with clear water and then applied a wash of the gray mixture that had accumulated on my palette. As the gray wash began to dry, | dropped in some clear water from my brush to create blossoms. | also spattered some of my three primary colors into the gray to create harmony and cohesion throughout the painting, drawing pad. This size accommodates most of my portraits, but if'm working on an urban landscape or other large piece, simply tape two sheets together. When I've achieved 2 poring over pouring ‘The pouring technique calls for pouring paint diluted with water over the surface of the paper. Depending on the results you're after, you can pour each color separately, allowing the surface to dry between each color (which would be con- sidered a form of glazing), or pour multiple colors on your surface and allow them to mingle on the wet paper without drying between pours. drawing that I'm satisfied with, go over the lines I want to convey to my watercolor paper with a thin black marker, and then use graphite paper to transfer the drawing, Because !use a lot of paint and water, especially when I'm employing a pouring technique, I go over the graphite lines with a No. 2 pencil on my water color paper, so that I don’t lose them during the painting process, If1'm pouring, lalso apply masking fluid to my paper before I begin painting to save my whites and lights. Otherwise, l skip the ‘masking step—or use just a touch on the most important white shapes—and simply brush around these elements, In addition to pouring and traditional wet into-wet brushwork, I sometimes apply two rd painted the subject of Solitude (watercolor on paper, 30x22)—a homeless ‘mah | encountered in Memphis—once before (see My Brother's Keaper at atistsnetwork com/medism/watercole/laurie-goldstein-warren-galar). This time | chose a closer view of his face for a more intimate perspective. To date, 4 nehas been the subject ve most connected to on an emotional ev. or three colors quickly side by side—wet-on- dry—letting the edges ofthe colors touch, then tilt the paper to facilitate mingling, also use ‘a mouth atomizer to tone down a passage of color or push a value a tiny bit darker without having to disturb the underlying painting with abrush, This last technique I learned from eminent watercolor painter John Salminen, who also has been a great influence on how I view value {in my paintings. Although I'm primarily a self taught artist, I've had the opportunity to work prith some of today's best watercolorists and Have learned something ftom each one From ‘Mai yikiin Beckwith, whos

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