Watecolor Magazine

10 Emerging Artists Get the Most From 6 Shortcuts to Create Depth With This
You Should Know Reference Photos Color Harmony Surprising Technique
D E C E M B E R 2 016
I N S PI R ATI O N • I D E AS • I N STR U CTI O N

THE MOST INNOVATIVE EUROPEAN MILL NEEDS YOUR OPINION
TEST ENCLOSED ARTISTICO SAMPLE & BE PART OF HISTORY.
Available in two shades of white, four surfaces, four weights and various sizes, Fabriano Artistico offers all the features discerning
artists can expect from a high quality watercolor paper. Every artist has a different approach to watercolor, printmaking, drawing
or digital printing, and your opinion counts. Help us make the best watercolor paper available on the market a staple of the future.
Go to www.savoirfaire.com/youropinioncounts and receive a free gift for your contribution.
WHERE THE ART OF PAPERMAKING BEGAN

December 2016
30 47
features columns
22 Urban Romance 11 Creativity Workshop
Carole McDermott plays with color Inject rhythm and vitality into your
and brushwork in her scenes watercolors in six simple steps.
of Central Park. BY KATHY COLLINS
BY JOHN A. PARKS
16 Studio Staples
30 Down-Home Sublime Follow along as a new paper is put
Catherine P. O’Neill pours and lifts through its paces.
to paint scenes from the heartland.
BY MICHAEL GOR MLEY
22 BY KRISTI GRUSSENDORF
59 Watercolor Essentials
38 The Artful Traveler Make color harmony easy with
A camera can be the most effective these six color triads.
way to record subject matter on the BY NITA LELAND
road—if used properly. Here’s how.
BY JOHN SALMINEN
IN EVERY ISSUE
47 Ones to Watch Editor’s Note 2
Top jurors and instructors introduce Featured Artists 4
10 breakout artists and reveal what Making a Splash 6
makes their work so special.
BY JESSICA CANTERBURY
38 Picture This 72
Watercolor Artist (ISSN 1941-5451) is published six times a year in February, April, June, August, October and December by F+W Media, Inc., 10151 Carver Road, Suite 200, Blue Ash OH 45242;
tel: 513/531-2222. Single copies: $6.99. Subscription rates: one year $21.97. Canadian subscriptions add $12 per year postal surcharge. Foreign subscriptions add $18 per year postal charge, and remit in
U.S. funds. Watercolor Artist will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 23, No. 6.
Periodicals postage paid at Blue Ash, OH and additional mailing offi ces. Postmaster: Send all address changes to Watercolor Artist, P.O. Box 421751, Palm Coast FL 32142-1751. F+W Media, Inc. Back issues
are available at northlightshop.com or by calling 855/842-5267. GST R122594716. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.
Watercolor Artist | December 2016 1

editor’s note
DECEMBER 2016
Editor-in-Chief Kelly Kane

Art Director Wendy Dunning
Managing Editor Jessica Canterbury
W e’ve been introducing our
picks for Ones to Watch for
the past 15 years—and the thrill
Senior Editor Beth Williams
never gets old. When we launched
ADVERTISING
this (now annual) feature, our idea
Vice President/General Manager Jamie Markle
jamie.markle@fwcommunity.com was to showcase the artists we
Advertising Team Leader, Fine Art Mary McLane thought might be the next to win a
970/290-6065; mary.mclane@fwcommunity.com
big prize at a national show or break
Media Sales Specialist Carol Lake
385/414-1439; carol.lake@fwcommunity.com
into a hot gallery—artists like you
Media Sales Coordinator Barb Prill who are taking workshops, improv-
800/283-0963, ext. 13435; ing your craft, maybe even entering
barb.prill@fwcommunity.com
your fi rst competitive shows. And to
F +W, A C O N T E N T + EC O M M E R C E C O M PA N Y fi nd those folks, we went straight to
Chief Executive Offi cer Thomas F.X. Beusse
our friends on the frontlines—the exhibition jurors and instructors who
Chief Financial Offi cer James L. Ogle
Chief Operating Offi cer Joe Seibert spot the emerging talents long before they come to our attention.
Chief Technology Offi cer Joe Romello That fi rst year’s crop of Ones to Watch included the likes of Ann
Chief Content Strategist Steve Madden
Pember, Mark Mehaffey, Donna Zagotta and Ruth Armitage, all of whom
VP, Manufacturing & Logistics Phil Graham
Newsstand Sales Scott T. Hill have gone on to become internationally recognized artists and instruc-
Scott.hill@procirc.com tors in their own right. We asked them many of the same questions we
EDITORIAL OFFICES asked this year’s group, including, “What was your most recent or signifi-
10151 Carver Road, Suite 200, Blue Ash, OH 45242 cant creative breakthrough, the aha moment that has set your work on
513/531-2222; wcamag@fwcommunity.com a new course or helped you express your artistic intention or aesthetic
SUBSCRIPTION SERVICES more clearly?”
P.O. Box 421751, Palm Coast FL 32142-1751 It will be exciting to see where the artists featured in this year’s “Ones
US/Canada: 800/811-9834
to Watch” (page 47) are in 15 years. And what about you? Where will you
Foreign subscribers: 386/246-3371
watercolorartistmagazine.com be? Perhaps the details of your own creative breakthrough hold a clue.
Back issues are available. For pricing information or to order, Head on over to Instagram and tag us @ArtistsNetwork to share your
call 855/842-5267, visit northlightshop.com/art-magazines/
most important aha moment. (If you haven’t joined us on Instagram, you
watercolor-artist, or send check or money order to F+W
Media Products, 700 E. State St., Iola, WI 54990. Specify should. It’s the perfect opportunity to get behind-the-scenes action from
Watercolor Artist and the issue month and year.
your favorite fi ne art community. Go to instagram.com/artistsnetwork
N E W S S TA N D D I S T R I B U T I O N and hit follow.)
Internationally distributed by Curtis Circulation Co.,
Here’s hoping the fruit of your latest light bulb moment lands you on
730 River Road, New Milford, NJ 07646.
Tel: 201/634-7400. Fax: 201/634-7499. next year’s Ones to Watch list!
Attention Retailers: To carry Watercolor Artist in your stores,
contact Pamela Wissman at 513/531-2690, ext. 11385.
P R I VACY P R O M I S E
Occasionally we make portions of our customer list
available to other companies so they may contact you about
products and services that may be of interest to you.
If you prefer we withhold your name, simply send a note
with the magazine name to: List Manager, F+W Media, Inc.
10151 Carver Road, Suite 200, Blue Ash, OH 45242.
Printed in the USA

Copyright © 2016 by F+W Media, Inc.
All Rights Reserved.
Watercolor Artist magazine is a Please share your questions and comments by writing to
registered trademark of F+W.
Watercolor Artist, Letters, 10151 Carver Road, Suite 200, Blue
Ash, OH 45242. Or email us at wcamag@fwcommunity.com.
2 watercolorartistmagazine.com
featured artists
Kathy Collins Kristi Grussendorf Nita Leland

kathycollinswatercolors.com kristigrussendorf.com nitaleland.com
Kathy Collins’ (page 11) watercolor and mixed- Kristi Grussendorf (page 16) has focused “Beautiful color is no happy accident;
media work has appeared in the Splash series on watercolor for the past 10 years, most color can be learned,” says Nita Leland
(North Light Books) and numerous other pub- recently on painting figures in the landscape. (page 59), best-selling author of Exploring
lications, including 100 Artists of the Northwest She holds signature status in the National Color Workshop, 30th Anniversary Edition
(Schiffer, 2013). A signature member of the Watercolor Society, Western Federation of (North Light Books, 2016), The New Creative
Northwest Watercolor Society and Women Watercolor Societies, Wyoming Watercolor Artist, New Creative Collage Techniques and
Painters of Washington, Collins teaches Society and Utah Watercolor Society, where Confident Color (North Light Books). She’s
classes and workshops around the country. she previously served as president. also a popular workshop and DVD instructor.
Carole McDermott Catherine P. O’Neill John Salminen

carolemcdermott.com catherineponeill.com johnsalminen.com
Internationally recognized artist Carole Catherine P. O’Neill (page 30) began paint- John Salminen (page 38) has won more than
McDermott (page 22) has a B.F.A. from the ing more than 15 years ago, after taking a 200 major awards in exhibitions, includ-
University of Denver and has studied at the beginner watercolor class at her local art ing the American Watercolor Society’s
Art Students League of New York for more center. She paints a wide variety of subject Gold Medal. He’s a frequent contributor
than 30 years. She’s a signature member of matter, but her favorite images include to Watercolor Artist and the author of John
the American Watercolor Society (AWS), a vice Adirondack landscapes and scenes of her Salminen—Master of the Urban Landscape:
president of the AWS board and an elected family life. She holds signature membership From Realism to Abstractions in Watercolor
member of the Allied Artists of America. in several national watercolor societies. (North Light Books, 2016).
L’Aquarelle Canson® Héritage is a beautiful 100% Cotton watercolor paper
made on a traditional cylinder mould machine with internal & surface sizing.
This unique paper offers artists:

Ideal Absorbency & Superior Strength.
Exceptional rendering, perfect washes, and superior color intensity.
Excellent color control, sharp edges, improved lifting, and balanced open wet time.
Available at Fine Art Retailers

canson.com
Splash
making a
Moving Art
On public transit in France, art (literally) takes you places.
T ransportation leaders in Paris

have turned commuting into
an art form. Through Art in Transit,
a collaboration that began in 2012
between France’s national rail
network SNCF, Île-de-France transit
authority STIF and the 3M Company,
passengers ride surrounded by
images of masterpieces and cultural
landmarks that are adhered to rail
cars on plastic film.
P H OTO S : M A X I M E H U R I E Z ; C O U R T E S Y S N C F
Individuals on the C line, which

runs from Paris to Versailles, for
example, are transported in cars
that evoke the Palace of Versailles,
their ceilings adorned with gilded
frames, their walls looking out to
Paris train passengers are treated to images

of Impressionist paintings (above left), Musée
d’Orsay stained glass (above right) and the
Palace of Versailles scenery (at left).
Watercolor News & Views
BY J E S S IC A C A N T E R BU RY
“Great things
are not done by
impulse, but by
a series of small
C O U R T E S Y C A N TO R F I N E A R T
things brought
together.”
—Vincent van Gogh
lush gardens. Another train, featur-

ing Impressionist paintings and
architectural features of the Musée
d’Orsay, passes through the very omg: emojis go art history
Parisian landscapes that inspired Emoji (n.) \ē-’mō-jē\: the smiley faces that originated on Japanese
Impressionists, such as Asnières- mobile phones in late 1990s, now available on most electronic applica-
sur-Seine, Argenteuil and Pontoise. tions used for communication. It’s hard to escape them; these tiny
Even more interesting is the fact that pictographs are so prevalent that Oxford Dictionaries named the “Face
Musée d’Orsay first operated as a With Tears of Joy” its 2015 Word of the Year. And yet, sometimes only
train station. an emoji will do. This isn’t lost on self-professed “art history nerds”
This year, along with the Museum father-and-son gallerists Sam and Larry Cantor, of Cantor Fine Art in
and National Estate of Versailles and Los Angeles.
Musée d’Orsay, the organizations The art history emojis, which at press time aren’t currently avail-
decided to reissue a lighter, brighter able but are in negotiation to be developed, were designed by Sam
version of the Versailles plastic films and launched on Instagram (@cantorfineart). He said they came to be
and a new batch of Impressionist after his father and he recognized similarities between the pre-existing
paintings on the J line (designed by emoji and fine art. “We noticed that some emoji are direct references to
Paris advertising agency Adkeys). famous artwork [The Great Wave Off Kanagawa, The Scream],” says Sam.
According to SNCF, five trains will “We have pretty active followers on Instagram, so we asked our fans
get fresh images, which are virtually what other artist emoji they’d like to see.”
graffiti-resistant, in 2017. The benefits Artists represented include Andy Warhol, Vincent van Gogh, Frida
are obvious and abundant: Art is Kahlo, Jean-Michel Basquiat, Renée Magritte, Pablo Picasso, Marcel
delivered to the masses; it promotes a Duchamp, Roy Lichtenstein, Keith Haring and more—even Banksy. View
positive mood for commuters; and the them at instagram.com/cantorfineart.
museums gain more exposure. Art in
Transit confirms that we can move art,
and that art can indeed move us.

must-see show
M É X I C O D I EG O R I V E R A F R I DA K A H LO M U S E U M S T R U S T, M E X I C O , D . F. / A R T I S T S R I G H T S S O C I E T Y ( A R S ), N E W YO R K
P H OTO C O U R T E S Y M U S EO C A S A E S T U D I O D I EG O R I V E R A Y F R I DA K A H LO , G U A N A J U ATO ; © 2 0 1 6 B A N C O D E
Diego Rivera’s The Creation of Man (La creación del hombre) (1931; watercolor on paper, 91⁄8x123⁄16) was an illustration for Popol Vuh, the creation
story of the Maya people.
Los Angeles artists, and larger-than-life person- The exhibition reveals how their
The Los Angeles County Museum alities. The 50 featured watercolors, artistic efforts were affected by the
of Art (LACMA) and Mexico City’s etchings, other paintings and forms, myths and structures of the
Museo del Palacio de Bellas Artes ancient objects of the artists’ native arts of antiquity.
present a look at two powerful Mediterranean and Pre-Columbian The show moves to the Museo
figures who made their mark on worlds shed light on the formation del Palacio de Bellas Artes from
modern art while also being influ- of modernism both in Europe and May 31 to September 10, 2017.
enced by their native ancient worlds: Latin America, and examine how Accompanying the exhibition is a
Picasso and Rivera: Conversations both artists engaged with their book by the same name, edited by
Across Time, on display December 4 respective cultures. two of the curators, Michael Govan,
through April 30 at LACMA. A comparison of their artistic director and CEO of LACMA, and
Pablo Picasso (Spanish, 1881- paths reveals their similar train- Diana Magalon, director of the pro-
1973) and Diego Rivera (Mexican, ing in national academies, their gram for Art of the Ancient Americas
1886-1957) were contemporaries, contributions to Cubism and their at LACMA (DelMonico Books, 2016).
competitors, ambitious and prolific return to more classical styles. lacma.org
The World’s
Greatest Paintings
E D TIME OF Taught by Professor William Kloss
IT INDEPENDENT ART HISTORIAN
FE
LIM
70%
R
LECTURE TITLES
1. Greatness in Painting
31
off 2. The Majesty of Duccio and Giotto
OR
ER
3. Acts of Faith—Masaccio, Van
ER
B
Eyck, Van der Weyden
BY D E C EM
4. The Diversity of Piero, Mantegna, Botticelli
5. The Devotion of Bellini, Geertgen, Dürer
6. Masterworks by Leonardo,
Raphael, Correggio
7. Great Ensembles—Michelangelo
and Grünewald
8. Ideal and Real—Giorgione, Titian, Holbein
9. Living and Dying—Bruegel,
El Greco, Caravaggio
10. Life Stories by Ter Brugghen, Rubens, Steen
11. Inside Vermeer, Velázquez, Rembrandt
12. Spirit and Thought—Hals, Rembrandt, La Tour
13. The Serenity of Poussin, Claude, Watteau
14. In Contrast—Chardin, Tiepolo, Gainsborough
15. Dark Images of David, Goya, Friedrich
16. The Worlds of Constable, Turner, Delacroix
17. Dark to Bright—Courbet, Church, Monet
18. Alone and Together—Whistler, Degas, Renoir
19. Unlike Any Other—Sargent, Manet, Seurat
20. Close Observation—Cézanne,
Van Gogh, Homer
21. The Human Condition—
What Are The World’s Munch, Matisse, Schiele

22. Art in Time of War—Monet and Picasso
23. Time and Memory—Magritte, Hopper, Gorky
Greatest Paintings? 24. Expressive Abstractions—
Pollock and Hofmann
Within the vast history of art, only a few paintings allow us to
comprehend more deeply the world—and our place within it. In 24
illuminating lectures, The World’s Greatest Paintings leads you on The World’s Greatest Paintings
a compelling discovery of some of the most significant paintings in Course no. 7126 | 24 lectures (30 minutes/lecture)
Western art.
Taking you from the 14th century to the 20th, distinguished art SAVE $185
historian and professor William Kloss reveals a group of works
that, in his expert judgment, are among the most important
ever painted. You’ll get fresh perspectives on both legendary and DVD $254.95 NOW $69.95
+$10 Shipping, Processing, and Lifetime Satisfaction Guarantee
perhaps unfamiliar works by artists including Leonardo, El Greco, Priority Code: 133231
Monet, and Picasso. And with most lectures limited to two or three
paintings, you’ll enjoy the rare chance to hear an expert talk at great For over 25 years, The Great Courses has brought
length about each carefully selected piece. the world’s foremost educators to millions who
want to go deeper into the subjects that matter
Offer expires 12/31/16 most. No exams. No homework. Just a world of
knowledge available anytime, anywhere. Download
THEGREATCOURSES.COM/8WATERCOLOR or stream to your laptop or PC, or use our free
mobile apps for iPad, iPhone, or Android. Over 550
1-800-832-2412 courses available at www.TheGreatCourses.com.
NORTH LIGHT BOOKS
AN I M PRI NT O F F + W, A CO NTENT
+ ECOM M ERCE COM PANY
See your art in AcrylicWorks 5!
A Pair of Jacks by Kenneth Hershenson
You infuse an unfathomable amount of passion into Let your imagination run wild. Your acrylic artwork
your acrylic artwork—now is your time to reap the can feature a variety of styles and subjects.
rewards of your efforts. For AcrylicWorks 5 we want
Winners will see their masterpiece in North Light
to see your best and boldest acrylic artwork with
Books’ hard-bound series, AcrylicWorks. Submit your
a focus on value—a key element of any two-
best acrylic artwork today!
dimensional artwork.
Early-Bird Deadline: February 1, 2017

For more information and to enter, visit artistsnetwork.com/acrylicworks
creativity workshop
BY K AT H Y C O L L I N S
Cut It Out
Create shimmering rhythm and energy with a combination
of watercolor and collage.
T ry this: Paint a landscape featur-

ing a rain-drenched sky that’s
contrasted with dark evergreen
mountains and reflecting waters.
Once the paint dries, grab a pair of
scissors and cut the painting into
strips. Wait! What? Cut up a per-
fectly good painting? Yes. Cut the
watercolor into vertical strips of
various widths and glue them onto
a second watercolor painting. This
isn’t a gimmick; it’s the way I’ve
been working for the past two years.
I live in Washington state and
have enjoyed painting its scenery
since I launched my watercolor
career in the 1980s. Over time,
though, I began to feel that my work
was repetitive and needed a fresh
infusion of energy. Initially, using
my Northwest scenes as a departure
point, I started to abstract elements
of these works for a less represen-
tational look. Next, I tried painting
more expressively to create non-
objective work without any specific
goal in mind.
I then began adding collage to
my repertoire, especially sketches
from life drawing sessions (see the
December 2014 issue of Watercolor
Artist). I tore the drawings from
sketchpads and pasted them onto
abstract backgrounds, using this
mixed-media approach to create
dramatic high contrast.
I chose two Seattle cityscapes for reinvention in Parallel Construction (watercolor on paper,
30x22). Both watercolors had some pleasing features, as well as a few unsatisfactory areas, Slicing and Dicing
such as a flawed figure or car. Collaging the paintings together created a new work that Later I wondered what would happen
showcased the best of both.
if instead of sketches, I cut up some

creativity workshop
old watercolor paintings, so I turned into long vertical strips of various While working with this technique,
to a stack of saved artwork that I’d widths, ranging from ½ to 2 inches, I discovered that slicing and dicing
categorized as “too good to throw rearranging the pieces and then actually enlivened a painting. Some
out, but not good enough for fram- gluing the strips onto other water- genres—my Northwest seascapes,
ing.” I began clipping these paintings color paintings. city scenes and abstract paintings—
seemed to work best, but all had the
same outcome. I was impressed by
how much the finished watercolor
collage was revitalized by the process,
while still retaining some aspects of
the original paintings. Why would
cutting up a watercolor inject it with
more vibrancy? I pondered this and
came up with several reasons.
First, the vertical slices produce
a type of visual syncopation, to
use a musical analogy. The process
delivers “dropped beats” as well as
changes in phrasing with a different
emphasis than the original painting.
Some shapes that were prominent
in the original may not be stressed
in the new work, while other forms
may be lost entirely or changed after
being cut into pieces. The new water-
color collage upsets the old tempo
and creates a new rhythmic tension,
Two paintings from my “abstracted” series seemed to lack energy, but when I intermixed
elements from both, the process produced a dynamic and totally new entity: Quantum an unexpected counterpoint to the
Entanglement (watercolor on paper, 11x14). The resulting abstract watercolor collage had a cadence of the original painting.
lively, jittery quality, which to me evoked the realm of quantum mechanics where particles are
Second, the increased number of
said to zip around in constant activity, even existing in two places simultaneously.
edges means more variety of shapes.
I found that narrow slices of the
painting create more excitement.
The wider the slice of paper, the
try this at home quieter that part of the painting will
Create your own watercolor/collage by repurposing a pair of water- be. Again, using a musical metaphor,
color paintings. Send a JPEG (with a resolution of 72 dpi) of your the thin ribbons of paper pasted
finished painting to wcamag@fwcommunity.com with “Creativity close together are like a fast, high-
Workshop” in the subject line. The “editor’s choice” will receive a frequency beat, whereas the larger
subscription (or renewal) to Watercolor Artist. The entry deadline pieces provide a resting place for the
is December 15. Catch up on the Creativity Workshop activities eye. Unexpected lost edges promote
you’ve missed at artistsnetwork.com/articles/inspiration-creativity/ increased flow through the work.
creativity-workshop. Third, each strip of watercolor
paper has a tiny thickness or caliper,
measured in thousandths of an inch.
MUSEUM AQUARELLE:
An Innovative Approach
pp
Intro Set Marine Set Landscape Set Waterbrush Set Palette Aquarelle
Caran d’Ache is always searching for innovations and once again it demonstrates its “Swiss Made” expertise in
GHYHORSLQJFRORUDUWPDWHULDOV,WKDVFRPELQHGDKLJKFRQFHQWUDWLRQRIH[WUD¿QHSLJPHQWVZLWKH[FHOOHQWZDWHU
VROXELOLW\WRFUHDWH086(80$48$(//(ZDWHUFRORUVLQSHQFLOIRUP6RIWH[WUD¿QHZDWHUFRORUVWKDWDUH
ZDWHUVROXEOHZLWKLPPHGLDWHHႇHFW7KHSLJPHQWVIHDWXUHRSWLPDOWUDQVSDUHQF\ZLWKQRYHLOHGHႇHFW7KHKLJK
pigment density creates brilliant and vibrant colors with exceptional lightfastness. Apply wet or dry.
Caran d’Ache, Swiss Made Excellence since 1915
236 Raceway Drive, Unit 5, Mooresville, NC 28117 - Phone 866.833.7797 Fax 888.423.0036
creativeartmaterials.com
Now serving Canadian retailers
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 NEW!
Everything an Artist Needs to
Build a Color or Water Media
Foundation
EACH SET $99.50 • WWW.QUILLERGALLERY.COM • 1-800-876-5760

creativity workshop
watercolor meets collage

Follow these simple steps to bring vibrant new life to two tired, failed or neglected watercolor paintings.
Step 1: Choose two watercolor

paintings in the same genre. I’ve
selected two landscapes (1A, 1B)
that are quite similar.
Step 2: Use a pencil and ruler

to mark vertical lines on one of
the paintings, varying the width
between the lines from ½ to 1 inch.
Step 3: Cut along the lines care-

fully to form long strips. Arrange
the strips atop the second (base)
watercolor painting until you find 1A 1B
a pleasing composition. Erase any
visible pencil marks.
Step 4: Apply paste (Yes! brand

works well) onto the back of the
first strip of paper and place it onto
the left side of the base painting,
pressing down firmly using a roller
or brayer.
Step 5: Repeat the process across

the paper until all the strips have
been glued and rolled. (Tip: Wipe
away any paste that spreads out
from underneath the paper strips.)
3 4
When a ribbon of paper is pasted light. When the collage is completed, Fourth, cutting and then mixing
on top of a second painting, the all the narrow white borders of the up the pieces changes the original
white side of the strip is visible. strips of paper appear to combine form and creates an abstracted
Viewed obliquely, the small caliper of and glisten with reflected light. Seen version of the paintings. The loss
the strip of paper appears as a slim as a whole, the painting shimmers of some shapes and the formation
white line reflecting a glimmer of with dappled light effects. of new ones produce unpredictable
Join ONLINE ART
CLASSES with CREATIVE,
WORLD-CLASS TEACHERS
Artist’s Network University

offers:
a Courses in the most popular
mediums
a Proven techniques from
experienced art instructors
a Constructive critiques
a The opportunity to improve
your art
Final step: Place the watercolor collage face down on

clean paper and weight it with books or other heavy
materials until the collage is completely dry and flat-
5 tened, as in Blue Rhythm (watercolor and collage on
paper, 24x18). Visit
ArtistsNetwork
University.com
results. Rapid alternating patterns Overall, the slicing process forms today and see how you
of varying color produce an excit- a type of visual emergent system, might take your art to the
ing visual array, like light flickering creating a new entity with dynamic next level!
through trees. New shapes appear, rhythm, vitality and an abstracted
yet the work retains some resem- déjà vu-like quality—a surprise factor
blance to the original paintings. that keeps me coming back.

studio staples
B Y K R I S T I G RU S S E N D O R F
Grading Paper
A watercolor instructor puts a new surface to the test.
Dry Dock (watercolor on paper, 15x22)

required a variety of techniques:
painting wet-into-wet, achieving bold
color and neutral grays, and creating
I ’m pretty particular about my
paper; I always tell my students
that it’s the last place to skimp.
21), which required some areas of sat-
urated pure color as well as neutral
gray mixes. I knew I wanted to paint
hard and soft edges. The 140-lb. cold-
pressed L’Aquarelle Canson Héritage I don’t have a specific formula for my the background wet-into-wet to get
paper allowed for all of them. paintings, so I need a surface that soft, blended edges, but I also wanted
can handle anything I throw at it some hard, controlled edges in the
and respond the way I want. When foreground. On some parts, I wanted
I thought about testing the new to get the right color and value in the
L’Aquarelle Canson Héritage paper, first shot, and in other areas I wanted
I began looking for subject matter to see how the color would build with
that would require a multitude of layers. I wondered how the surface
different techniques. would respond to these demands and
I found a fitting subject in Dry Dock others. How would colors gradate on
(above; see the demo on pages 20 and the paper? Would I be able to get the
STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12,
1970: Section 3685, Title 39, United States Code). 1. Watercolor Artist 2. (ISSN: 1941-5451)
3. Filing date: 10/1/16. 4. Issue frequency: Bi-monthly. 5. Number of issues published annually: 6. 6. The annual
subscription price is $21.97. 7. Complete mailing address of known office of publication: F+W Media, Inc., 10151
Carver Rd., Suite #200, Blue Ash, OH 45242. Contact person: Kolin Rankin. Telephone: 305-441-7155 ext. 225 8.
Complete mailing address of headquarters or general business office of publisher: F+W Media, Inc., 10151 Carver
Rd., Suite #200, Blue Ash, OH 45242. 9. Full names and complete mailing addresses of publisher, editor, and
managing editor. Publisher, Jamie Markle, 10151 Carver Rd., Suite #200, Blue Ash, OH 45242, Editor, Kelly Kane,
10151 Carver Rd., Suite #200, Blue Ash, OH 45242 , Managing Editor, Jessica Canterbury, 10151 Carver Rd., Suite
#200, Blue Ash, OH 45242. 10. Owner: F+W Media, Inc.; Thomas F. X. Beusse, CEO, 1140 Broadway, 14th floor, New
York, NY 10001. 11. Known bondholders, mortgages, and other security holders owning or holding 1 percent
of more of total amount of bonds, mortgages or other securities: . 12. Tax status: Has Not Changed During
Preceding 12 Months. 13. Publisher title: Watercolor Artist. 14. Issue date for circulation data below: AUGUST
2016. 15. The extent and nature of circulation: A. Total number of copies printed (Net press run). Average number
of copies each issue during preceding 12 months: 51,899. Actual number of copies of single issue published
nearest to filing date: 47,192. B. Paid circulation. 1. Mailed outside-county paid subscriptions. Average number of
copies each issue during the preceding 12 months: 33,476. Actual number of copies of single issue published
nearest to filing date: 31,676. 2. Mailed in-county paid subscriptions. Average number of copies each issue
during the preceding 12 months: 0. Actual number of copies of single issue published nearest to filing date:0.
3. Sales through dealers and carriers, street vendors and counter sales. Average number of copies each issue
during the preceding 12 months: 4,467. Actual number of copies of single issue published nearest to filing date:
3,978. 4. Paid distribution through other classes mailed through the USPS. Average number of copies each
issue during the preceding 12 months: 1,644. Actual number of copies of single issue published nearest to
filing date: 1,485. C. Total paid distribution. Average number of copies each issue during preceding 12 months:
39,588. Actual number of copies of single issue published nearest to filing date; 37,139. D. Free or nominal rate
distribution (by mail and outside mail). 1. Free or nominal Outside-County. Average number of copies each issue
during the preceding 12 months: 103. Number of copies of single issue published nearest to filing date: 209. 2.
Free or nominal rate in-county copies. Average number of copies each issue during the preceding 12 months:
0. Number of copies of single issue published nearest to filing date: 0. 3. Free or nominal rate copies mailed at
other Classes through the USPS. Average number of copies each issue during preceding 12 months: 10. Number
of copies of single issue published nearest to filing date: 10. 4. Free or nominal rate distribution outside the
mail. Average number of copies each issue during preceding 12 months: 494. Number of copies of single issue
published nearest to filing date: 421. E. Total free or nominal rate distribution. Average number of copies each
issue during preceding 12 months: 609. Actual number of copies of single issue published nearest to filing date:
640. F. Total free distribution (sum of 15c and 15e). Average number of copies each issue during preceding 12
months: 40,197. Actual number of copies of single issue published nearest to filing date: 37,779. G. Copies not
Distributed. Average number of copies each issue during preceding 12 months: 11,703. Actual number of copies
of single issue published nearest to filing date: 9,413. H. Total (sum of 15f and 15g). Average number of copies
each issue during preceding 12 months: 51,899. Actual number of copies of single issue published nearest to
filing: 47,192. I. Percent paid. Average percent of copies paid for the preceding 12 months: 98.5% Actual percent
of copies paid for the preceding 12 months: 98.3% 16. Electronic Copy Circulation: A. Paid Electronic Copies.
Average number of copies each issue during preceding 12 months: 1,519. Actual number of copies of single issue
published nearest to filing date: 1,445. B. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a).
published nearest to filing date: 38,584. C. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a).
published nearest to filing date: 39,224. D. Percent Paid (Both Print & Electronic Copies) (16b divided by 16c x
100). Average number of copies each issue during preceding 12 months: 98.5%. Actual number of copies of single
issue published nearest to filing date: 98.4%. I certify that 50% of all distributed copies (electronic and print)
are paid above nominal price: Yes. Report circulation on PS Form 3526-X worksheet 17. Publication of statement
of ownership will be printed in the December 2016 issue of the publication. 18. Signature and title of editor,
publisher, business manager, or owner: Jamie Markle, Publisher. I certify that all information furnished on this
form is true and complete. I understand that anyone who furnishes false or misleading information on this form
or who omits material or information requested on the form may be subject to criminal sanction and civil actions.
studio staples
In the image above, I wanted to see how

the color would gradate as I brought a bead
slowly down the paper. I tried isoindolinone
yellow deep to cobalt blue on the left,
then carmine to cobalt on the right. In the
top right image, you’ll see how I was able
to achieve a super-saturated application
in a single stroke, a sparkling effect with
drybrush and a rich stroke using a bead of
paint. The image at right shows my paper
“play.” I began by wetting half of the paper
with water, then experimented with edge
quality, blooms, charging, drybrush
and calligraphy.
granulation of paint I find so excit- Trying Out Techniques sizing without gelatin,” which might
ing? Could I maintain the freshness I immediately noticed how similar explain the softer feel. The paper
with additional brushstrokes? Could both sides of the paper looked and also has deckles on the horizontal
I soften edges easily while the paint felt, and was pleased to discover that edges and it rips easily.
was still wet? And would I be able both accepted paint without any I ran into an issue painting
to go back and soften edges after perceived differences. The paper’s Dry Dock when I overworked the
the paint had dried? I was excited surface seems almost woven as face of the white-bearded figure.
to paint on this 100-percent cotton opposed to the “pitted” surface of (It’s something I try not to do, but
mould-made paper and discover its other papers. According to Canson, we’ve all been there, right?) It got
possibilities. the paper has a “new generation of to the point where I needed to use
ART WORKSHOPS
ON DEMAND
Improve your painting at your own
pace. At ArtistsNetwork.tv you’ll find:
t 0WFSJOTUSVDUJPOBMWJEFPT
from professional artists
t 5IFXJEFTUWBSJFUZPG
NFEJVNT TVCKFDUTTLJMMMFWFMT
available online
t *EFBT JOTQJSBUJPOJOTUSVDUJPO
that will help you take your art to
the next level
t (SFBUWBMVF Monthly or
yearly access—choose what’s
right for you
t IPVSBDDFTTUPBSUJOTUSVDUJPO
from any internet connection
7JTJU"SUJTUT/FUXPSLUW
SAVE 10% with coupon
code "57."(
studio staples
1 2
putting paint to paper

Step 1: After some initial play, I taped a half sheet of
140-lb. cold-pressed L’Aquarelle Canson Héritage paper
to Gator Board, drew my composition, and used both
masking fluid and tape to protect my white areas.
Step 2: I tend to paint with a lot of water, and my initial

wet-into-wet wash buckled the paper. While the wash
was still damp, I scraped in a few white masts with my
brush handle.
Step 3: After the wash dried, I added saturated color

4
on some of the larger shapes. The cobalt blue on the
left vertical is one layer, while the bottom of the boat is
charged with multiple colors, which granulated nicely. mixing my isoindolinone yellow deep with Daniel Smith
hematite genuine mineral pigment.
Step 4: I added my foreground wash and a comple-
mentary glaze over the closest figure. I achieved some Step 5: I established the shadow shapes with my own
interesting granulation in the foreground color by cool gray mix of cobalt blue, isoindolinone yellow and
masking tape and a Mr. Clean Magic further test the paper. Although the “homogenous” color—consistent
Eraser to get rid of an entire area surface was gone, the paper still and harmonious without “white
and start over. Unfortunately, when accepted the paint, and I reached spots.” I appreciate the value of a
I removed the tape, it pulled away an adequate solution. sparkling drybrush stroke, and I was
some of the paper’s surface and I was apprehensive about trying relieved to find that, depending on
paint in the background mountains the drybrush technique on the paper the amount of liquid and the manner
area. This did, however, provide because of something I read in the in which I applied the paint, I could
another opportunity for me to product’s literature that claims achieve different strokes on this
In-the-box creativity.
A little QoR goes a long way, and a whole bunch of
little tubes can take you even further! QoR Watercolor
Sets provide a quick and affordable way to try 6, 12
or 24 colors and every set comes in a stylish tin with a
palette lid. As fun as the tin is, it’s what’s on the inside
that counts, and QoR colors offer superior clarity and
intensity, while retaining the subtlety and beauty you
expect from professional watercolors. QoR is not just
new, w, it is modern watercolor.
3 Ask your
your nearest
neares
nearestt art
art suppl
supply
ply retailer
reta
re
about QoR watercolors or visit
taile
QoRcolors.com
©2016 Golden Artist Colors, Inc., New Berlin, NY 13411
get ART
5 SMART
carmine, and then removed both the masking fluid and
tape without any issues.
and SAVE
Final Step (on page 16): I added detail to the figures,
shadow shapes and the white areas that were masked. Join the online North Light VIP Program
today for exclusive savings on the tools
and inspiration you need to create
paper (see my drybrush swatch on page 18). I was able to
successful art! You’ll save on books,
get beautiful saturated color and had no problems with videos, magazines and so much more!
edge quality.
If you, too, use a variety of watercolor techniques, you
might want to give it a try for yourself: Find L’Aquarelle Learn more at
Canson Héritage paper at your favorite art retailer and
www.NorthLightShop.com
learn more at canson.com.

Carole McDermott paints love letters to her beloved
Central Park using soft colors and a gauzy focus.
BY J O H N A . PA R KS
C
arole McDermott uses the suggestive of haze, as though sunshine is chasing away
powers of watercolor—its ability to veil, the remnants of a mist. In this watery light, the
drip and flow—to summon a sense of world seems fresh, beguiling and full of promise.
romance and joy in her paintings of New York
City’s Central Park. She combines precise drafts- Inspiration Meets Composition
manship and accurate perspectives with open The obvious intensity of feeling that
brushwork and adventurous paint handling McDermott brings to her subject is born of a
to create works that describe specific places, deep knowledge of the park. “I’m a volunteer
but which remain suggestive and even a little tour guide for Central Park Conservancy,” she
mysterious. The palette is primarily natural, says. “I spend quite a lot of time in the park
but the artist has a fine sense of when to push and am awed by the genius and brilliance of its
and saturate a hue and when to relax into more designers. I use the representational qualities
subtle passages. Her work often projects a sense of my watercolors to re-experience the radiant
The Dairy (watercolor on paper, 40x30), now the visitor center for Central
Park, originally was used to dispense fresh milk to families back in the 1800s.
McDermott framed the entrance with trees for a softened effect.
The artist created areas of shadow and sunlight alternating down the pathway,
greatly increasing the sense of depth in Literary Walk, Autumn (at left; water-
color on paper, 30x40).
On previous pages:
The strokes and drips in Bethesda Terrace (watercolor on paper, 30x40) remind
the viewer of the watery nature of the medium, reinforcing the sense that the
painting is as much an object itself as a representation of its subject matter.
landscapes and bring the poetry of the pastoral McDermott’s understanding of the park
scenes of Central Park to life.” and her familiarity with its features allows her
The artist can quote chapter and verse on to make fine choices of views and composi-
the number of bridges, the subjects of the 51 tions. For all the openness in her paintings, her
statues and the meaning of the streetlights’ approach is highly organized, and every work
coding numbers. But most of all, McDermott is begins with a photograph. “I always take my
simply in love with Central Park as a place. “I own photos,” says the artist, “and I compose
think it’s so dynamic, so big and so romantic,” and plan my photos to be paintings.” Having
she says. “It’s somewhere you go alone to be chosen her image, the artist begins by think-
with other people. And yet, everyone finds ing about it tonally. “I look for the darkest dark
something particular about it for themselves. and the lightest light,” she says. Understanding
There’s nowhere else that I’ve been that has so where the lights will be is important, because
much for so many.” watercolor requires that they be preserved.

Her comfort with mixing techniques was
reinforced when she took a workshop with
Wayne Thiebaud (American, 1920- ). “He
showed the class a painting of his that had a bit
of everything in it—watercolor, charcoal, oil and
gouache. The lesson was, if it works, it works.”
McDermott’s own openness to unorthodox
techniques is evident in the dynamic way in
which she uses drips and spatters to create
an extra sense of depth and atmosphere. This
approach is influenced by her studies with Paul
Ching-Bor at the Art Students League in New
York. But while Ching-Bor embraces a spectacu-
lar approach to paint delivery, McDermott uses
her extra marks in a more delicate, sparing way
to create air and light in a suggestive, under-
stated manner.
The Marriage of Nature

and Architecture
The sunlight
bursting into Because McDermott doesn’t use any mask- Understatement also characterizes the final
Conservatory ing techniques in her work, she makes a note of state of McDermott’s pieces, in which some
Garden (watercolor
which locations to keep white and then begins areas are highly defined while others are
on paper, 40x30)
from the front right to work directly on the painting surface. “I merely hinted. “Some paintings can simply
casts powerful don’t make plein air sketches, partly because show you too much,” says the artist. “There’s a
contrasts in the
the size of my watercolor paper [30x40 inches] danger that it can become boring for the viewer.
foreground and
rich, atmospheric is too large for working outside effectively,” Every painting should have some mystery,
shadows in the she says. “So instead, I stand at an easel in my because it can prod you to think and discover.”
distance.
studio with my paper upright.” The results of this approach can be seen
in Bethesda Terrace (on pages 22 and 23), a
Making a Relationship Work view across the lake to the famous Bethesda
McDermott begins by drawing the image in Fountain. The composition places the terrace
pencil, being careful to establish the correct toward the bottom of the painting, so that a
perspective. Then the fun begins. “Color is large portion is comprised of tree masses, sky-
the easy part for me,” she says. “I’m a pretty scraper tops and a watery sky. The crispness
messy painter. I like to get the darks massed and clarity of the structures in the foreground
in. Sometimes I do them too dark, but I can are in contrast to the loosely suggestive brush-
make adjustments as I go. I use a sprayer, so I work of the background. Several vertical drips
can lift out areas with a paper towel or rag, or cut through the composition, evidence of the
I can lighten with glazes.” She’ll sometimes relaxed flow and confidence of the painter.
use a razor blade to chip out an area that she As with all her paintings, the subject is one
wants to return to white, or she’ll strengthen that involves McDermott deeply. “The Bethesda
the white with opaque gouache. “I’m not a pur- Fountain was originally the only statue that
ist,” she says. “I’m not afraid of mixing media; the designers, [Frederick Law] Olmstead and
sometimes I’ll even use gouache in a glaze.” [Calvert] Vaux, commissioned for the park,” she
Drip Rock Arch
says. “They didn’t want it to be like European (watercolor on
paper, 30x40)
parks with statues commemorating kings and
features carefully
generals, so here the subject is Love embodied limned details
as an angel. Usually, in the 19th century, angels of the bridge
structure, which
were represented as men, but this one is a
are pitched against
woman. The sculptor was also a woman.” For open handling in
McDermott then, the Bethesda Fountain repre- the background.
The deep reds of
sents the democratic spirit and the generosity
the brick bridge
of the Central Park designers. are contrasted with
A somewhat more intimate scene is por- a splash of pink
blossom on the
trayed in Conservatory Garden (opposite), a
right. McDermott
vertical view through a pathway that’s based the painting
enclosed by a loose trellis structure. In the dis- on a photo (at left.)
tance, a large modern building looms in a haze
of grays and indigos. In this image, the light is
transformative. It blazes in from the front right,
throwing long shadows toward the viewer and
silhouetting a pair of figures walking away
from us. Stark contrast in the foreground gives
way to extremely subtle color in the middle
distance, where trees fall softly away against
a blue sky. The composition holds us in the
enclosure of the pathway, inviting us to enjoy
a peaceful backwater in the face of the looming
city beyond. In doing so, it puts its finger on one artist’s toolkit
of the central functions of a city park. Paper: 300-lb. Arches 30x40-inch cold-pressed
Drip Rock Arch (above) explores one of the
Paint: Gamblin (tubes only) and Winsor & Newton
more fascinating architectural features of the
park: its bridges and roadways. “There are 33 Brushes: 2- to 4-inch hake, 2-inch house paint and old bristle
bridges in Central Park, and each of them is brushes of various sizes
different,” says the artist. “The original plans
Misc.: Winsor & Newton gouache and a razor blade
submitted by Vaux show roadways and paths
going over and under one another. It was the

Placing the statue
at the edge of the
plateau in Pilgrim
Statue, Spring
(watercolor on
paper, 30x40)
creates a dramatic
counterpoint to the
steep slope of the
hill. The brilliant
haze of pink blos-
soms serve as a
foil to the grays of
the statue and the
landscape beyond.
fi rst document on which the word ‘subway’ surrounding grassland. This is the largest stand
was used.” Here a pathway goes under the of American elm trees in the United States.
road, and the artist shows the way in which In Literary Walk, Autumn (on pages 24 and
the earth at its base has been landscaped 25), McDermott shares the moment when the
and planted to pleasing effect. The shadow greens are just giving way to orange. She pres-
under the bridge is heavily contrasted, while ents it with the sun blazing down through the
the buildings in the deep background disap- foliage, shifting the hues to a brilliant degree
pear into a hazy sky. Human architecture and of saturation. Areas of shadow and sunlight
nature seem to be in balance; order and chaos alternate down the pathway, increasing the
are in harmony. sense of depth. In contrast, Pilgrim Statue, Spring
Harmony is also evident in McDermott’s (above) captures that season’s full-blown beauty
paintings of Literary Walk, a Central Park land- of pink-budded trees and burgeoning grass.
mark featuring a broad walkway dotted with
three statues of composers and writers. But A Feeling of Wonder
perhaps the most spectacular aspect of the walk Although a highly accomplished watercolorist,
is the canopy of trees that stretches out into the McDermott didn’t take up the medium until
she was in her 40s, when she bought a Charles
Traipse through Central Park via Carole McDermott’s Reid book on the subject. Her husband then
charming landscapes at artistsnetwork.com/medium/ sent her to one of Reid’s two-week workshops in
watercolor/carole-mcdermott-central-park-watercolors. California, and she was hooked.
an affair to remember
McDermott’s personal approach to watercolor stems from
her long experience as an artist, having been raised by
a family that encouraged her talents. “My father was an
engineer and a fine painter,” she says. “He brought my
older brother and me to drawing classes when I was in third
grade. We lived in a small town in Pennsylvania, but we had
a great library. Art books and painting have always made me
happy and given me peace.”
Watercolor serves as a powerful tool in the The artist went on to study art at the University of Denver
artist’s quest for expression. “Nature is my in the late 1960s. “Many of the instructors were Russian mas-
theme, and, like nature, watercolor is organic,” ters,” she recalls. “They were immigrants, new to this country
McDermott says. “I appreciate the personal and thrilled to be in America. As students, we were required
signature of watercolor. The flow, the rhythm to draw from the model every morning. In the afternoons, we
of the water, the splash and the drip are a painted in oil but always abstractly.”
unique personal vision. McDermott observes this division of enterprise to this day,
“I have no message in my paintings other working abstractly in oil and representationally in watercolor.
than to communicate a feeling or a sensation,” It’s not surprising that her list of admired artists includes
the artist says. “I paint to know we’re not both abstract and realist masters. “I love Franz Kline’s paint-
alone. The more raw I am on canvas or paper, ings,” she says. “I live half the year in New York City, and the
the more the viewer can relate with his or her urban, strong structural brushstrokes and black-and-white
feelings and share the wonder.” contrast of the city dynamic totally speak to me.”
She also professes an admiration for Jackson Pollock,
JOHN A. PARKS (johnaparks.com) is a profes- Pierre Bonnard, Mark Rothko, John Singer Sargent, Nicolai
sional artist, a teacher at the School of Visual Fechin and Joaquín Sorolla y Bastida. Living influences
Arts in New York and the author of the book, include Stuart Shils, Eric Aho, Bruce Dorfman and her Art
Universal Principles of Art: 100 Key Concepts Students League of New York teacher, Paul Ching-Bor.
for Understanding, Analyzing and Practicing Art
(Rockport Publishers, 2014).

Down-Home
SUBLIME
Catherine P. O’Neill taps into shared
experiences and emotions in her
paintings of the American heartland.
BY M I C H A E L G O R M LE Y
L
ike most kids come a sunny summer morning,
Catherine P. O’Neill couldn’t wait to get out of the
house and join her friends for a reprise of yester-
day’s make-believe adventure. On rainy days, however,
as her friends sulked in boredom, O’Neill was equally
happy sitting amongst the piles of art books her parents
collected. “I especially loved the book on Andrew Wyeth,”
she says. “I adored his work. I still do. Back then I’m not
sure what I was responding to—certainly the realism and
romantic settings. As I matured as an artist and began to
focus solely on watercolor, I grew to appreciate his skilled
handling of the medium. I wanted to emulate him.”
In our busy lives, we rush about in great haste and often overlook the
everyday beauty around us—a learned trait young children have yet
to suffer. Paintings like Captivated (watercolor on paper, 18x19) help
us to see and bid us to take pause.

Given the wide range
of tones and chromatic Tapping the Past movement soothed a troubled nation with
effects she’s able Most of America would agree with O’Neill’s reassuring and nostalgic imagery of honest
to achieve, O’Neill’s
palette is surprisingly aesthetic instincts. Wyeth’s paintings possess labor, family life, rural hamlets and small town
limited. Her technique a formal beauty underpinned by a dynamic America. Widely popular until the end of World
is a lesson in economy; pictorial abstraction. With an amplified use of War II, Regionalism’s traditional style, conser-
simplified masses and
the juxtapositions of light and shadow, he created icons—subjects vative subject matter and overt nationalism
warm against cool and symbolic of emotive charges that remain cul- evoked an American heartland narrative that
light against dark are tural reference points. His painting Christina’s upheld core democratic principles upon which
sufficient to impart a
feeling of the natural World competes as one of America’s most popu- the country was founded.
world, as in Paul’s Porch lar and widely reproduced works of art. Though its principal artists worked primar-
(watercolor on paper, Wyeth, along with Grant Wood—whose ily in the Midwest and South, Regionalism
20x24).
American Gothic rivals Christina’s World in popu- spread throughout the country during the
larity—are O’Neill’s artistic forebearers. With 1930s with local artists celebrating the unique
other painters, including John Steuart Curry aspects of their beloved cities and towns.
and Norman Rockwell, these artists were Specific to watercolor, California painters
part of a movement known as the American active in the 1930s through the ’50s, such as
Regionalist School. Arising during the height of Millard Sheets, Dong Kingman and Emil Kosa
the Great Depression and comprising paint- Jr., similarly appealed to a broad audience with
ings, murals, lithographs and illustrations, the local subject matter depicted in a realist style.
To engage the viewer, O’Neill often leaves her
narratives open-ended. In Aunt Marion (watercolor on
paper, 20x28), the central figure appears perplexed
or dismayed at something or someone outside of the
picture frame—and leads the viewer to imagine what the
disturbance might be. artist’s toolkit
Paints: Winsor & Newton, Holbein and Daniel Smith: French
While encompassing a wide range of ultramarine, quinacridone gold, new gamboge, permanent
stylistic differences, Regionalism has alizarin crimson, burnt sienna, Winsor blue, Antwerp blue,
remained a relatively conservative and Holbein shadow green, brown madder, Winsor yellow
traditional movement, in keeping with “down-
Paper: Arches 140- or 300-lb. cold-pressed
home” populist sensibilities. Art aiming to
evoke a sense of identity and belonging, a Brushes: synthetic or synthetic/sable combination ½- to
distinctly anti-modernist stance, purposely 3-inch flats and a variety of rounds; Isabey sable rounds;
offers imagery that’s comfortingly Cheap Joe’s Fritch scrubbers; riggers for details
familiar, recuperative and, in the best
Misc.: Guerrilla Watercolorboard (both half- and full-sheet
instances, redemptive.
sizes) on which to stretch 140-lb. paper; Gator Board on
We can see this populist intent with
which to tape and staple 300-lb. paper without stretching
O’Neill’s stolid and plainly dressed farm
it; John Pike palette; frisket paper; liquid mask, including
matron in Aunt Marion (above), the fly fi sher-
Pebeo and Schmincke Aqua Masking Fluid; a gray scale and
man in action in Wade a Minute (on page 36),
value finder to check darks; Mr. Clean Magic Eraser to lift
and the hushed father-and-son moment in
paint; spray bottle to wet paper for glazing and to create
Paul’s Porch (opposite). All are latter-day saints,
texture in a wet wash
reincarnations of the honest, hard-working
folks depicted by Regionalist artists in 1930s
Depression-Era America.

1 2
5 6
pouring and lifting for mist

My brothers were trying out their Step 2: I applied masking fluid sienna, Antwerp blue and French
new Hornbeck canoes early one to save areas where I wanted to ultramarine blue, spraying the paint
summer morning. I loved the way suggest foliage and tree branches. with water to encourage it to flow
the sun shone through the mist When that was dry, I rewet the and tipping the board to pour off
and lit up the interior of one of the paper and again poured quinac- excess. I then started to lift a few
boats, inspiring me to capture the ridone gold, new gamboge and tree trunk shapes.
moment in a painting. burnt sienna, lifting mist at the
bottom edge like before. I let the Step 5: I removed most of the fris-
Step 1: To start, I stretched a sheet paper dry. ket film from the bottom section of
of Arches 140-lb. cold-pressed the painting, leaving only a narrow
paper on Guerrilla Watercolorboard. Step 3: On the horizon line, strip of film sealed with masking
I then covered the bottom third I applied more masking for foliage fluid covering the paper in the
of the paper with frisket film and and my brother’s shirt. When the center. I painted a wash of quinac-
sealed it with masking fluid. I wet masking was dry, I poured a layer ridone gold below the strip and let
the top section of the paper and of Antwerp blue and French ultra- this dry.
poured quinacradone gold, new marine blue. Mist was again lifted
gamboge, burnt sienna and French with a sponge along the bottom Step 6: I rewet the bottom third of
ultramarine blue onto the surface, edge. I let this dry, then removed the paper, added burnt sienna to
letting the colors mingle on the the masking. the left side, French ultramarine to
paper. I lifted some mist with a the right and misted with a spray
sponge along the bottom edge, Step 4: I rewet the paper and bottle to encourage the paints
then let this layer dry. poured another layer of burnt to merge. (The dark mark on the
3 4
7 8
bottom right is where I dropped

my paintbrush. Oops.) I let it dry.
Step 7: I rewet and poured one

more layer of French ultramarine
over the bottom.
Step 8: I removed the masking

from the center strip, softened the
edges with a scrubber brush and
lifted out paint with a sponge to
give a sense of mist over the bot-
tom section. I then started to paint
in the lightest value of the boat.
Final Step: I finished by painting

my brother and his boat directly,
followed by the water around
the boat. I further scrubbed out The Hornbeck (watercolor on paper, 19x27)
along the shoreline to suggest
rising mist.
—Catherine P. O’Neill

Believably situat-
ing a figure in a Discovering the Artist Within easily and was quite portable. But I especially
landscape is an Painting figures in watercolor and doing it well loved the effects that could be achieved using
underestimated
skill—and most didn’t come easily for O’Neill. She notes, “I paint and water—smooth washes, spatters,
artists get it wrong. practice a lot of perseverance, and my skills drips, mingled colors, glowing light, drybrush
In a picture, as in and confidence have grown. That said, setting techniques and so on.”
real life, the eye
naturally gravitates aside time to paint is my biggest challenge. Though her initial motivation was to paint
to the human figure “I’m a medical doctor practicing internal well enough eventually to create paintings
as the major point medicine at the University at Buffalo School of for gifts, O’Neill soon entered juried competi-
of interest. In Wade
A Minute (water- Medicine. Because I treat patients, as well as tions and began showing her work to galleries.
color on paper, teach residents and medical students, I can go She continues to learn through reading books,
18x25), O’Neill casts for considerable stretches of time without paint- attending demonstrations and studying works
the landscape
elements in a ing at all. Even when I have time, I struggle to at exhibitions. Staying connected to her fellow
supporting role, overcome inertia to actually begin a painting. I artists has proven beneficial as well. O’Neill
allowing the figure think about how I’ll approach a subject for some adds, “I’ve joined many watercolor groups, but
to visually domi-
nate the scene—as time before I actually start. Once I do begin, I’m I’m most involved with my local organization—
it would in life. much more apt to continue; however, I almost the Niagara Frontier Watercolor Society. We
always find myself struggling to continue at have monthly demonstrations and shows twice
some point during each painting when it doesn’t a year; it’s a great group of supportive, talented
look like I envisioned—the ugly stage. I have to artists. I’ve also enjoyed meeting many contem-
push myself to keep going, to get past the block.” porary watercolorists at national exhibitions.”
O’Neill’s discovery of her artistic side was
unplanned; about 18 years ago her child’s baby- Light Effects
sitter was offering a beginning watercolor class Though he was classified a realist, Wyeth didn’t
and extended an invitation to O’Neill. “Right think of himself as such. Rather, he considered
away I was taken in by the immediacy of the himself an abstractionist. He wrote, “My people,
medium,” the artist recalls. “I loved how it was my objects breathe in a different way: There’s
applied and how quickly it dried. It cleaned up another core—an excitement that’s defi nitely
O’Neill’s tableaus
quote the American
artist Edward
Hopper; the picto-
rial narratives are
both familiar and
vague at the same
time. In paintings
like Men in Back
(watercolor on
paper, 20x21), the
open-endedness
can inspire a cer-
tain voyeurism. We
can remain aloof
and venture to
guess what’s hap-
pening or, going
one step further,
insert ourselves
into the storyline.
abstract. My God, when you really begin to peer painting progresses. I then have to re-mask the
into something, a simple object, and realize the light area and darken the shadows to get the
profound meaning of that thing—if you have an right value. I also love to lift out shapes after
emotion about it, there’s no end.” the darks have been applied. I use sponges
In looking at Wyeth’s work through the and brushes for soft edges, stencils, tape and
lens of contemporary realism and the latter’s scrubbers or a Mr. Clean Magic Eraser for hard
obsession with photo-like verisimilitude, one edges. I also keep notes about my paintings as
wouldn’t argue otherwise. Indeed, one might I work on them; I write down the colors used
classify O’Neill in the same abstractionist vein, and the process in steps, so I can refer back to
as evinced by her reductionist and dynamic these notes to remind myself how I achieved a
compositions heightened by a dramatic use of certain effect or color.”
light and shadow.
To express the flickering effects of natu- Art for the People
ral light, O’Neill composes with a wide value In our current fractious nation, where com-
range. As in nature, the forms in her work monalities are increasingly displaced by shrill
appear to dissolve as they turn from the light polarities, O’Neill’s work, and the populist
into shadow. She says, “I often start with the aspirations it advances, may indeed inspire a
background, or my darkest values, masking off reimagining of libertine fellowship based on a
lighter areas. I work with very wet paper and shared appreciation and earnest engagement
lots of paint, and when the lights are protected, with our country’s founding principles.
I feel free to splash color on, tipping the board
to mix it and pouring off excess paint. The most MICHAEL GORMLEY is a painter and writer based
difficult part about this is getting the initial in New York City.
value dark enough. It often appears very dark
in relation to the white paper, but less so as Explore more of Catherine P. O’Neill’s down-home
the painting progresses. Sometimes shadows scenes at artistsnetwork.com/medium/watercolor/
seem dark enough initially, but too light as the catherine-oneill-watercolor-figures.
Artful
THE
TRAVELER
Ditch the guidebook and grab
your camera. A world of inspiration
awaits you just off the beaten path.
BY J O H N S A LM I N E N
W
hen I first started painting, my sketchbook
went everywhere with me. As I grew more
enamored with urban scenes and my paintings
began to incorporate more detail and complexity, how-
ever, it became impossible to capture all the details
I needed in on-site drawings; I had to rely more heavily
on my camera. Following the viewfinder in search of
potential paintings has led me on an amazing journey—
from the crowded alleys of Naples to remote mountain
villages in China.
When my wife, Kathy, and I step out of our hotel in the
morning in a foreign city, we have no idea where we’ll
go or what we’ll see, and this lack of agenda has led to
surprising discoveries, chance encounters and painting
subjects that I never could have planned. Wander along
with me as I share the stories behind the paintings from
a few of our most recent adventures.
For Carrousel de Paris (watercolor on paper, 24½x26), the ironic

juxtaposition of the festive ornate carousel and the quiet aloneness
of the figures were intriguing to me.
Inspired by a local Wind and Rain Bridge nestled in a
fog-shrouded valley, I painted Bridge (opposite; water-
color on paper, 20x15) en plein air. I chose this subject
for two reasons: It’s a wonderful example of the melding
of function and beauty so typical of life in the ethnic
minority culture, and it presented me with the challenge
of capturing the soft mist. As I worked, a little girl from
the village joined me.
LangDe, China
I had just spent the morning with Kathy paint- the same phrase many times, looking intently
ing on location in the remote Miao Ethnic into my wife’s eyes. Unable to understand,
Minority village of LangDe in southwest China. Kathy enlisted the translating help of Huang
It began to look like rain, and I decided to start Hsiao Hui, a remarkable painter from Taiwan
one last plein air painting under the shelter of who was traveling with us. The little girl was
a covered Wind and Rain Bridge. As I set up my saying, “I like to paint too.” That’s all Kathy
easel, a little girl approached, clearly intrigued needed to hear. Soon the girl was set up beside
but reluctant to come too close. Over time the me with some quarter sheets of watercolor
girl slowly moved closer to Kathy until she was paper, sharing my brushes and palette. At one
sitting beside her. The little girl shyly repeated point I reached for my ½-inch square brush
only to discover that nearly all of my brushes
had been relocated to the little girl’s workplace.
getting to know a place She painted one image after another, hum-
ming to herself as she concentrated on following
• Read fiction set in the location you wish to paint. The my lead, carefully cleaning her brushes by
novels by Elena Ferrante or the short vignettes by Rob swishing them in the water bucket and then
Schmitz will give you a deeper understanding of Naples or flicking them to remove the excess water, just as
Shanghai than reading a guidebook. I did. After I borrowed some of my brushes back,
I finished my painting just as she finished hers.
• Be respectful of local expectations and customs. In the
When it was time to leave, I headed to the
United States, when people leave their homes they relin-
bus that would take me back to my hotel, and
quish their rights of privacy. In France and several other
the little girl, proudly clutching her paintings,
countries, no such expectation exists. French citizens own
left the bridge and walked into the village.
their images and may object if you don’t obtain permission
When she grows up and her horizons expand
to photograph them.
beyond her idyllic village in the hills, she’s going
• Absorb the ambience and infuse your work with local to become aware of global politics. I hope that
character. Explore neighborhoods. Talk to people. In the when that happens she will remember that
words of G.K. Chesterton, “The traveler sees what he sees. rainy afternoon on the wind bridge when she
The tourist sees what he has come to see.” and an American visitor spent an hour happily
painting together—two artist friends doing what
they most love to do.
Naples, Italy
Hiking along the harbor walk in Naples, Italy, a man sat astride his motor scooter with his
Kathy and I turned inland and looked up to father perched on the back. He noted my inter-
see a steep hillside stacked with interesting est and took the time to explain the history of
buildings and houses. At the base of a seem- his neighborhood. We’ve maintained contact
ingly unending stone staircase winding up through Facebook, and I’m happy to say that, so
into the neighborhood of the Spanish Quarter, far, he approves of my paintings of his home.
gathering photo reference
• Photograph boldly. Don’t try to sneak pictures. If people
see you secretly taking their photos, they could question
your motives or take offense. It’s better to be forthright and
sensitive to anyone who appears uncomfortable or objects.
I often show the photo I’ve taken to the subject, explaining
that I’m a painter and telling them what I particularly liked
about the shot. In many years of taking pictures on the
street, I’ve had remarkably few problems or objections by
simply looking confident and professional.
• Shoot early in the morning, late in the afternoon or early in
the evening for dramatic lighting and strong diagonal pas-
sages of light and shadow. Early evening can be especially
interesting because there’s still sufficient natural light. As
street lights, neon signs and car lights begin to shine, they
add a new dimension.
• Vary your vantage point. Don’t always shoot at eye level.
• Push the button! My years of experience with film
photography trained me to wait for the perfect shot
before I pushed the shutter button. With a digital camera,
additional shots don’t cost anything, and a good approach
is to shoot copiously, deciding later what works and what
doesn’t. Often my best images are accidental in nature.
The subtle color gradations of the building facades

drew me to the scene in Spanish Quarter (watercolor on
paper, 25x36). Sienna and umber—created, appropriately
enough, from Italian pigments—formed the color palette.
I let the man on the scooter know why I was taking his
picture, and he was gracious enough to share details
about the area.

I was drawn to this scene because it truly
represented my experience in this small
mountain village. I particularly liked the
challenge presented by the ephemeral
quality of the smoke-filled light and the fire
itself—a new subject for me. I combined
reference photos to arrange a pleasing
composition in Village of 100 Families
(opposite; watercolor on paper, 32x24½).
“Village of 100
Families,” China
Central to each Dong Minority village is a
drum tower, a huge temple-like structure that
serves as a community gathering place. On this back in the studio
November day, the assembled village elders • Keep a file of photographs for detail purposes. I often
built a fire using wood shavings. As they sat use figures to add interest and scale to my urban scenes.
around talking, laughing and warming their If I see an interesting person or group of people, I’ll snap
hands, I took a seat on the opposite side of a shot. I look for people coming and going, heading left
the large open room, careful not to interfere. or right, in all styles of dress, backlit or brightly lit from
I took a couple of photos but wasn’t entirely the front. I’m not looking for portraits but rather gesture
happy with the composition that resulted from and attitude. Figures from New York City have made guest
my vantage point. Luckily, I came away with appearances in my Paris scenes and vice versa.
enough information to reassemble the cast
• Preview your shots initially as thumbnails. The small
members in a more favorable arrangement.
format causes strong compositions to assert themselves.
The camera is a wonderful traveling
companion, leading me to places well beyond • Transform your photo references into paintings with lives
conventional tourist haunts. Images that of their own. The goal isn’t to reproduce a photograph
excited and intrigued me on location provide faithfully, but rather to use it as a starting point to create a
inspiration back in the studio. Organizing and painting that may be very different in atmosphere, lighting
prioritizing the factual information recorded or subject matter from the initial image.
by my camera into cohesive paintings, I aim to
share these unique sights with the world.
Tour the globe in John Salminen’s paintings inspired by

his travels at artistsnetwork.com/medium/watercolor/
john-salminen-travel-painting.
The Best in Art Instruction at
NORTH LIGHT SHOP
Exploring Color Workshop

30th Anniversary Edition With
New Exercises, Lessons and
Demonstrations
Nita Leland
Finding color combinations that not only work but

excite the eye is one of the greatest challenges artists
face. This updated and expanded 30th anniversary edi-
tion of the North Light classic Exploring Color teaches
artists of all mediums and skill levels how to use and
control color in their artwork and shows how exhilarat-
ing and enjoyable the ride can be. Popular art instruc-
tor and best-selling author Nita Leland will help you
take any artwork you make to new heights. Memorable
paintings from more than 30 contributing artists will
inspire you, along with 75+ hands-on exercises, 8
step-by-step demonstrations and countless nuggets
of color knowledge—all in your own private workshop!
4t
New Realism 4QMBTI*OTQJSJOH Vibrant Watercolor Tech- Watercolor Essentials,

.BHB[JOF*TTVF Subjects, Rachel Rubin Wolf niques: Painting Water, Soon Birgit O’Connor
5"t 5t 8BSSFO6t ;t
These and many other North Light products are available at your favorite art & craft
retailer or bookstore. You can also order online at NorthLightShop.com or by phone Save 10%!
at 1-800-258-0929. Online prices may differ on listed titles; prices are as marked on Use code ARTPUB10 during
store pages in the North Light Shop.
an imprint of F+W Media, Inc.
checkout in the North Light Shop.
KIE JOHNSON KATHY SIMON-McDONALD
ANNE HIGHTOWER-PATTERSON
JOHN KEEPAX
SIDRA KALUSZKA CASON RANKIN
DAN
KNEPPER
MIKE
HENRY
ONES TO
WATCH
Meet the artists who have caught the attention
of today’s top instructors and exhibition jurors
throughout the year.
INGRID E. BY J ES S I CA C A N T E R B U RY
W
ALBRECHT
hen you take painting seriously, it shows—simply look to the work on the
following pages for proof of that. The artists chosen as our 2016 “Ones to
Watch” obviously treasure their work, and the various ways in which they
channel that passion are what make this annual feature so celebratory.
Here our 10 rising stars share their thoughts about the impact for which they
strive, the power of a single color, the emotional tax of being committed to a painting
(for better or worse), embracing their weakness and—maybe most essentially—hav-
ing a Plan B. As the art instructors and exhibition jurors who nominated them attest,
their efforts merit our attention. All eyes on them.
KAREN
KNUTSON Watercolor Artist | December 2016 47
The View From 11 B (at left; watercolor on YUPO, 26x20)
Clearance 12'5" (below; watercolor on YUPO, 26x20)
INGRID E.
ALBRECHT “The challenge of The View From 11 B was
[ Chicago, IL | ingridsartoriginals.com ]
to create believable perspective. I so wanted
“I LOVE TO TRY NEW APPROACHES, NEW PIGMENTS, to put in all of the unique characteristics of
NEW WAYS of doing things and new surfaces. A those buildings but forced myself to minimize
variety of texture is important to me, and using everything. I invented the train coming in from
YUPO synthetic paper gives me many options the left and the cars to help tell the story of a
to achieve this. In fact, the smoother the sur- busy metro street seen from above. Clearance
face, the more texture that can be achieved. 12'5" required lots of adding and subtracting of
“I like drama in my works. I like for them to shapes and values until I felt it worked.
have an impact, and this takes planning. I add, “I use many transparent colors, especially
subtract, lighten, darken, enlarge and mini- when layering on YUPO. I do use opaque paints,
mize, to make the paintings say what I want however, for colorful accents. If they stopped
them to say. Because of the characteristics making Daniel Smith’s French ultramarine blue,
of YUPO, I don’t draw on the paper. Instead, I I’d be very unhappy. It has a wonderful granu-
adjust the shapes and values as I proceed with lating property that works well in many washes
my layers. and makes a great component to lovely grays.”
“Ingrid’s work allows the viewer to complete her visual story. Sometimes
dark, always thoughtful—it’s the spaces between that make you think. Add
engaging content with technical excellence, and you get work that brings you
back again and again.” —MARK MEHAFFEY
“IN MY PAINTINGS, I STRIVE TO CAPTURE THE
KIE JOHNSON
[ Watkinsville, GA | kiejohnson.com ]
ESSENCE OF A PARTICULAR MOMENT. Standing
Strong captures the juxtaposition of the metal
sculpture and the person viewing the artwork.
In the Studio depicts the quiet concentration of
the artist at work. Using the figure in a paint-
ing immediately makes the viewer relate to
the image. The figure plays a significant role in
telling a story.
“I’ve seen such growth in Kie’s work,

and I like the quietness of her subject
matter.”
—LINDA BAKER
“The use of light in my paintings is a way for

me to create a pathway for the viewer in and
around the image. Using a strong light source was
an intentional part of composing these images.
“I often make several compositional and
value studies before deciding on how to pro-
ceed. I then determine what color scheme will
best depict the particular image. Values always
trump color in my work.
Standing Strong
“My painting techniques typically incorpo- (watercolor on
paper, 20x16)
rate the masking and pouring process along
with a good bit of direct painting. Creating In the Studio (at
left; watercolor on
luminous watercolors is one of my primary
paper, 20x15)
goals. I find layering the paints creates the glow
I’m after. I paint exclusively with transparent
watercolors on cotton rag paper.
“One day when some significant problems
arose with a painting in process, I found
myself chuckling. I was delighted to fi nd that
I was no longer afraid of making a mistake and
knew it would likely work out just fi ne (or if
not, I’d learn something). At that moment,
I knew that I could paint without fear and
enjoy the journey.”

KATHY
SIMON-MCDONALD
[ Bradenton, FL | kathysimon-mcdonald.com ]
“MY FAVORITE ASPECT OF BOTH OF THESE PAINT- which becomes about two-thirds of my draw-
INGS IS THE DETAIL THEY CONTAIN: the woven ing. I edit my projected drawing, then I add in
and worn shrimper’s ropes and wooden pulleys details to enhance the drawing. Next, I print a
in What Tangled Webs We Leave, and in The Last black-and-white copy of my reference photo to
The Last Ride Ride, all the rust on the support beams of the
(below, right; water- Coney Island Cyclone.
color on paper,
“This is no-fear watercolor. Kathy’s
30x22) “I always paint using reference photos.
work is very strong and colorful. Her
When I’m ready to start a new painting, I look
What Tangled
through my photos and choose one that seems enjoyment is visible.”
Webs We Leave
(watercolor on to convey a story. I then project the image, —JEAN GRASTORF
paper, 22x15)
use for value comparison as well as an enlarged

color photo to help me identify any additional
details and colors.
“Masking is an important part of my process.
Blending and softening masked edges is crucial
to creating a cohesive painting. Soft and hard
edges, a balance of lights and darks, and a full
range of values make a painting believable and
invite the viewer into the story of the painting.
“Every piece is like a short-term relationship.
As in any relationship, there are highs and lows.
There are times when the painting moves along
according to the initial plan, and times when
I’m thinking divorce! Usually, by sticking with it
long enough, I’m happy with the end result.”
Conversation Starter (at left;
watercolor on paper, 28x21)
Brooklyn Bed (watercolor on

paper, 21x28)
“CONVERSATION STARTER IS THE FIRST IN A SERIES

WITH CHILDREN AT AN EASEL featuring famous DAN KNEPPER
works of art. Here, a girl has Jean-Michel
[ Jackson Center, OH | danknepperart.weebly.com ]
Basquiat’s Mecca on her easel. Taken out of
context, everyone just assumes her smile shows
how happy she is with her work. I’ve had it in art “I’m not a typical watercolorist; I tend to map
shows in museums and no one says, ‘Wow, that out details first, the edges I don’t want to lose. If
little girl’s painting is worth $4.5 million!’ It raises I mess up the eyes, for instance, there’s no point
questions about the intrinsic value of artwork. in continuing. You can suggest a foot, but the
“The figure is our basis for proportion, ele- viewer is going to interact with the eyes. I then
gance and relevance. It can convey innocence, build up transparent layers, starting with bold
lust, calm, joy, all with changes in pose and colors—yellows, pinks, olive green and purple.
setting. We instantly relate to it. And, of course, I let layers dry completely
it interacts well with light, which is often the before applying more paint.
real subject of the painting. The figure will I don’t mix on the palette; “There is a fluid, precise
always be fascinating to me, but my paintings purer colors are created elegance to his work.”
are about light and color. by light passing through
—JAMES TOOGOOD
“I use natural light as much as possible for layers. It’s the difference
my reference material. I want it to illuminate the between mud and honey.
subject, to show the translucency of skin as it hits “My biggest breakthrough probably came
it, to show myriad changes in color as it passes from a workshop with Jane Paul Angelhart. It
through, and is reflected by, hair and cloth. was her palette and her layering of color that
“I generally have an idea of what I want to really got me started in my current direction.
accomplish, both the technical aspects and the Another turning point was when artist Barbara
message I want to convey. I take many reference Fiore told me, ‘While you’re waiting to get
photos, and I sometimes do little sketches with better before trying to get into galleries, lesser
altered values to bolster eye movement through artists are taking your place.’ So then I tried,
the composition and emphasize the focal point. and got into three very good galleries.”

KAREN KNUTSON “The tiny, busy shapes are always a nice
surprise. I let them direct me through the
[ Eden Prairie, MN | karenknutson.com ] painting process. If I really like the little shapes
in one area, I might make them the garment
“I CREATED REMEMBERING FRIENDS IN HONOR OF for my figure or a big area of my background.
A GOOD FRIEND WHO HAD PASSED AWAY. I truly I wipe out the lights using rubbing alcohol,
felt her presence when I painted this. I love which leaves a residue on the surface of the
the way the figure is looking to the new world paper. I then calm down areas by glazing.
ahead. Hopeful Future is the sequel. I often paint The wonderful thing about acrylics is that
two pieces at once so that the colors will go if they get too dark, I can add another layer
Hopeful Future together, and the timing seems to work out so that’s lighter in color—but I always either
(below, right; I don’t have to stop and use the blowdryer. spray rubbing alcohol or water to expose the
acrylic on paper,
11x11) “I achieve textural effects by painting a layer underneath. I love the drawing aspect of
wild-colored underpainting; I scrape the sur- linework I’m able to achieve in the fi nishing
Remembering
Friends (acrylic on face using a credit card to get unusual shapes touches. I actually use a branch dipped in liq-
paper, 11x11) and colors. uid black acrylic for this process. I like that it’s
not perfect and that it skips over some areas of
the paper’s surface as I paint the lines and that
it globs up in other areas.
“The tiny, busy shapes that are my signa-
ture used to be a challenge; I made too many
of them. One of my teachers once asked me if
I liked making little shapes, and I said that I
must like them, because they keep appearing in
my work. She told me to make that my strength
by combining them so that they read as one
big shape from a distance. It was great advice.
I tell my students that whatever they think is
their Achilles’ heel is probably the thing that’s
most unique, and I urge them to make it their
strongest feature.”
“Karen’s work relies on an inner creativity. While

there may be recognizable subject matter, her work is
really in the realm of personal expression. It has great
design, wonderful use of pattern and that something
extra that brings a smile to the viewer’s heart. Her
work is engaging and complex.”
—MARK MEHAFFEY
“John possesses a very high degree
of technical skill, and he also
exhibits the rare ability to prioritize
JOHN KEEPAX
[ Coral Gables, FL | facebook.com/keepaxwatercolor ]
his paintings in such a way that
his command of detail enhances washes of paint, either painting around them or
rather than distracts.” masking off areas I need to save, using masking
fluid or tape. I draw as much detail as I feel I’ll
—JOHN SALMINEN
need, so that I won’t get lost or hesitate while
I’m painting. Then I use a mixture of direct
painting and glazing techniques. I’ll add some
“I WAS INSPIRED TO BEGIN PAINTING AGAIN spattering for texture when needed, and if
AFTER ABOUT 20 YEARS when I saw some of I haven’t managed to save all my whites, I’ll use
Richard Parkes Bonington’s watercolor land- a little opaque white to get them back. Birch Point State
scapes at The Wallace Collection in London. “Deciding to take some workshops to help Park (above; water-
The expressive skies in his landscapes and my painting has had the most dramatic effect color on paper,
14x22)
coastal scenes, along with the architectural on how I work. I’ve had many ‘aha’ moments
detail of his cityscapes, inspired me to start during these workshops, learning new tech- A Gothic
Perspective (water-
painting watercolor landscapes. I enjoy creat- niques, testing recommended materials and color on paper,
ing paintings that look realistic at fi rst glance trying new equipment.” 16x22)
but are obviously paintings once you stop and
look at them.
“I enjoy plein air painting, and my basic
palette is set up with that in mind: cobalt blue,
French ultramarine, cerulean, indanthrone
blue, Hansa yellow medium, new gamboge,
Naples yellow, permanent rose, perylene red,
raw sienna, burnt sienna, raw umber, virid-
ian green, undersea green, mineral violet and
neutral tint. These 16 colors also form the basis
of my studio palette. In the studio I have a few
extra colors I’ll use if the painting warrants, but
I try to stay away from heavily staining colors
as I use some lifting techniques in my work.
“I pre-plan the overall composition with a
quick value sketch, where I determine the light
source and how it moves through the composi-
tion. I save my whites when I apply the initial

SIDRA KALUSZKA
[ Christiansburg, VA | facebook.com/sidrak.art ]
Summer’s Reflection (watercolor on paper, 25½x19)
“MY PAINTING IS A VISUAL VOICE FOR THE STRONG
Two Kami (above, left; watercolor on paper, 9½x13½)
EMOTIONAL CONNECTION I feel with nature. I’m
not painting a straightforward representation
of what I see, but rather an emotional expres- immediately locking down. As a result, the salt
sion through my use of vivid color, dramatic has a stronger effect on the movement of the
lighting and unconventional vantage points. paint. I also do layered salt effects. The first
“I do all of my color mixing on the paper. layer always has the strongest marks, but the
This technique requires a strong understand- subsequent layer’s salt effects are still visible,
ing of one’s own palette, and knowledge of how especially when contrasting colors are used.
different colors will react, combine and layer Spatter leaves some of its nicest marks on wet
with one another. My primary method of paint or damp paper. The moisture gives the paint
application is wet-into-wet, which allows my a freedom of movement that leaves beautiful
colors to freely interact and mingle with one organic and atmospheric marks.
another before they dry. “I’m highly motivated by my love of light
“Wet-into-wet is also an ideal environ- and the ways it interacts with everything it
ment for spattering and salt effects, which are touches. I use light to define space and vol-
the building blocks for my textured, organic ume, and also to set a dramatic tone. I want
surfaces. Salt achieves its best marks this way; my viewers not only to see the light, but
the water on the paper prevents the paint from also to feel the warmth of the sun as if they
themselves were in the image. I achieve this
without the use of masking fluid. I’ve found
that preserving my whites forces me to con-
“Sidra’s composition choices are interesting and unusual. sider my next steps carefully.
Most exciting is her salt effect; she builds up layers of “I further emphasize the dramatic light-
ing with my choice of unusual vantage points,
texture through salt, which is very hard to do.”
often greatly magnifying natural elements so
—Z.L. FENG they appear to tower over the viewer. I don’t see
my subject matter as lifeless objects, but rather
as the living entities they are, with eternal
power and grace.”
“I LOVE PAINTING LIGHT AS IT HITS THE LAND-
SCAPE ALONG WITH WATER AND REFLECTIONS. MIKE HENRY
Typically, 80 percent of my painting time is
[ Port Huron, MI | bit.ly/mike-henry ]
spent on-site, painting small sketches of first
impressions. Doing these 5x8- to 7x9-inch predominately warm or cool and select a color
sketches has helped my observation skills, as scheme. Next, I draw the main shapes on my
well as given me confidence to work out com- watercolor paper, making note of the horizon
positions and to personalize value and color line and any whites I want to reserve. Quite
schemes. I spend the remaining time in the often this will be enough to get me going and
studio working from these sketchbooks. the rest will be done with my brush.
“I use granulating paints that make it easy “I can identify with what was written about
to soften edges and lift highlights with a damp William Morris Hunt [American; 1824-1879]: ‘If
brush, occasionally using masking fluid for Hunt had a weakness … it was the difficulty of
small highlights. In Silver Dawn, I used a hake finding a way to keep the spontaneity and free-
brush in the sky while the paint was still wet dom of first inspiration at white heat, without
to gradate from a near white to a soft gray. I losing the picture in working up to a finish.’
typically use Quiller watercolors with a limited This, too, is my greatest challenge.”
palette in cadmium orange and ultramarine
blue. In Silver Dawn, I shifted to pyrrole orange “Mike was an Honor Marine and has been a UPS driver for
and Richeson blue to get more of a steel gray.
many years with a wife and three daughters. He took up
“In my studio, I draw a few thumbnail
sketches to make sure I’m happy with the large painting about 12 years ago to give him some creative time
shapes and their placement on the picture and relief from daily pressures. It has changed his life.”
plane. I then decide if the painting will be —STEPHEN QUILLER
Sarnia Harbor
(watercolor on
paper, 8x12)
Silver Dawn (at

left; watercolor on
paper, 7x19)

Rainbow of
Tomorrow’s
Dreams (acrylic on
paper, 12x16)
Blue Haze of
Sunday (below;
acrylic on paper,
14x6)
CASON RANKIN
[ Asheville, NC | casonrankin.com ]
“THESE PIECES ARE FROM A SERIES I CALL MY

‘SPIRIT PAINTINGS.’ When I painted the fi rst
one, the image just emerged out of nowhere,
so I continued the series and discovered many
more spirits. They seem to come to me at ran-
dom and make themselves known.
“Cason achieves strong My favorite aspects of these
compositions with great, paintings are the loose, drippy
simple shapes, a full movements of the paint.
“I want a lot of texture in my
range of values and a work, because it gives the paint
limited palette.” opportunities to go in different
—JEAN GRASTORF directions. Rough watercolor paper
coated with gesso helps achieve
the textural effect. I generally use
a dark color scheme. I start out with black gesso,
whether I’m working on a canvas or a piece of
watercolor paper. I limit my palette to six or
seven colors for each piece, which keeps the
painting from getting out of control. I also use a
palette knife coated with a thin layer of paint to
drag across the surface of the rough paper.
“The best art advice I’ve received came from
the late great artist Nicholas Simmons, who
said, ‘If you want to make great art, you have to
learn to love Plan B.’ ”
View paintings of previous years’ Ones to Watch at artistsnetwork.com/

medium/watercolor/wc-ones-to-watch.
ANNE
HIGHTOWER-PATTERSON
[ Leesville, SC | annehightower-patterson.com ]
“IN ANTIQUES, I WAS ATTRACTED TO THE PATTERNS

AND COLOR COMBINATIONS IN THE CHINESE POR-
CELAINS, while in Miss Sarah II, my goal was to
paint the subject matter with a minimum of
pattern and color so that the light on her face
and skin tones would be the stars.
“Anne shows true promise in

her techniques and choice of
subject matter. She includes much
complexity, but simplifies it in her
resolution.” —LINDA BAKER
“In Antiques it was important for me to achieve

the reflected light on the porcelain while making
certain the patterns remained clear and believ-
able. In this case, I used masking fluid to save the
highlights, then painted the shadow patterns
on the surfaces of the jars. On the final pass, I
painted the ornate patterns, paying close atten-
tion to the changing values within those patterns.
“I use transparent or semi-transparent paints,
and sometimes an opaque color at the end to
provide accent. I love the quinacridone colors by
Daniel Smith, but stand by the burnt sienna by
Winsor & Newton because it’s transparent. My
palette includes both warm and cool versions of
red, yellow and blue.
“For each painting, I make a detailed 5x7-inch
value study in either pencil or marker, simplify-
ing the design and combining areas into shapes
that enhance the composition. Then I create at
least one 9x12-inch color study.
“I begin the larger painting with a detailed
pencil drawing on my paper—with a hard
pencil, between 2H to 6H. I prefer Arches 140-lb.
cold-pressed, but occasionally I’ll select 300-lb.
for larger washes. When my detailed drawing Antiques (water-
is finished, I use Pebeo liquid mask to preserve began to understand more clearly that there color and casein on
any whites. Only then do I begin to build up my were still many watercolor lessons to learn. paper, 28x38½)
glazes, working light to dark and large to small. This was a turning point for me. I became Miss Sarah II (top;
I take my masking off and use a small, stiff hungry to learn as much as I could from these watercolor and
casein on paper,
brush to soften edges, lift out accent lines and instructors.” 22x23½)
lose areas that may be too strong.
“It was after a friend convinced me to attend JESSICA CANTERBURY is managing editor of
the Kanuga Watermedia workshops that I Watercolor Artist.

What you don’t know about
Walk-In Tubs can hurt you.
The Walk-In Tub reinvented…
by Jacuzzi Inc.
Myth #1- Walk-In Tubs are only

for safety. While having a door on
your tub can prevent bathroom
falls, a great Walk-In Tub does so
much more. Only Jacuzzi® Walk-In
Tubs feature the patented PointPro®
jets that provide the optimum mix
of water and air to provide strong
yet gentle hydrotherapy.
Myth #2- Walk-In Tubs make

you wait a long time while they
fill and drain. Most do, but the innovative Myth #5- All Walk-In Tubs are the same.
engineers at Jacuzzi Inc. have spent years They aren’t. And only one of them is made
perfecting the FastFill™ and FastDrain™ by the company that’s known worldwide
Technology that enables you to spend for its bathtubs- the company that
more time bathing and less time waiting. practically invented hydrotherapy.
Myth #3- You have to pay for extra Now that you know a little bit more
features. Most Walk-In Tubs are base about Walk-In Tubs, why not take the
models, and as you tack on extra features next step. Call now for more information
the price goes up… a lot. Jacuzzi® Walk-In on the Walk-In tub that’s revolutionized the
Tubs come standard with Air and Water bathing industry. Jacuzzi® Walk-In Tub…
Jets, Color Light Therapy, Aromatherapy, there’s only one.
FastFill™ and FastDrain™ Technology and
SPECIAL REPORT
the only foot massage jets on the market. For your FREE special report
TIPS ON LIVING TO BE 100
All for one low price. Including the Secret Benefits
of Hydrotherapy “Tips on Living to be 100”
E
FRE Call Toll-Free Today
Myth #4- Walk-In Tubs are expensive.
Moving into an Assisted Living Facility 1-888-779-6971
is expensive. So is a broken hip. Jacuzzi® Please mention promotional code 102698.
Walk-In Tubs are a great investment and

can even increase the value of your home.
Quality craftsmanship and innovative
design are worth every penny.
81418
© 2016 Aging In The Home Remodelers

Watercolor essentials BY N I TA L E L A N D
Pleasing
Palettes
Delicate High-Key Palette Bold Palette
Six harmonious
color triads take the
guesswork out of
painting so you can
focus on your subject.
C olor problems in paintings

usually stem from using too
many colors or combining paints that
don’t work well together. Compatible
Traditional Palette Old Masters’ Palette
triads alleviate both issues.
If three colors don’t give you
the results you want, you can add
another color that shares their
transparency, intensity and tint-
ing strength without introducing a
sour note in the color harmony. You
may even find new combinations
that work with the unused colors
that clutter your paintbox. Explore
six selected palettes and then create
your own exciting triads.
Opaque Palette Bright Earth Palette
These six foolproof color triads enable you to achieve successful paintings without the hassle
of color trial and error.

watercolor essentials
Delicate High-Key Palette

Delicate tinting colors—aureolin, pure, bright colors, they all have but you can’t make strong darks
cobalt blue and rose madder genu- relatively weak tinting strength. with them. Powerful darks would
ine—make an exquisite high-key Flowers are delightful subjects destroy the delicacy and subtlety
triad, limited in contrast and beauti- for the delicate high-key palette, but of this palette. Used carefully and
fully transparent. there are other options, too. How sparingly, burnt sienna is a good
In watercolor, the colors are non- about a misty river scene or a soft addition to the palette, because it
staining, easily lifted and extremely portrait? Light-fi lled landscapes also enables you to increase your range
useful as glazes. Although they’re are successful with these colors, of darks slightly.
Aureolin
Rose madder Cobalt

genuine blue
DELICATE HIGH-KEY
COLOR WHEEL
My granddaughter’s portrait, Dream On (watercolor on paper, 9x6),

illustrates the harmony of the delicate high-key palette. I splashed
in the spontaneous background and layered well-diluted colors to
model her features and the shadows, then added details. Soft edges
and delicate colors represent the innocence of childhood.
Bold Palette Winsor lemon
Transparent, high-intensity colors
of great tinting strength such as
Winsor lemon, phthalo blue (red
shade) and pyrrole red make a
versatile triad. This bold palette can
range from dramatic, bold state-
ments featuring rich, intense darks
to sensitive, elegant images using
delicate tints. The value range runs
the gamut from the lightest light to
the darkest dark.
These dynamic colors generate
energy, brilliance and sharp contrast
in any subject, including cityscapes,
landscapes, portraits and flowers.
Non-objective or abstract compo-
sitions can be dazzling with this Pyrrole Phthalo blue
red (red shade)
intense triad. The transparency of
these colors makes them useful as
glazes when well-diluted, but their
staining property merits a word of
BOLD COLOR WHEEL
caution: They can’t be lifted easily
once they’re dry.
Free Spirit (watercolor on paper, 14x20)

features an intense palette of Winsor red
(pyrrole red), Winsor lemon and Winsor blue
(phthalo blue, red shade). It makes rich,
low-intensity washes surrounding the glow
of the last light of day as it reflects off snow.
Does light ever look like this? Maybe not, but
the colors express the time of day just as I
imagine it. You can take liberties with color
if you make your point.

Traditional Palette New gamboge
The traditional palette is a combina-

tion of high-intensity, transparent
and opaque colors with intermedi-
ate to strong intensity strength.
Its workhorse colors are found on
almost every artist’s palette: new
gamboge, French ultramarine and
cadmium red. New gamboge lends
some transparency to the mixtures,
French ultramarine is semitranspar-
ent and cadmium red is very opaque.
Many artists think of this palette as
muddy, but it features a wide range
of values.
This is an ideal palette for natural
subjects: the olive greens of trees and
Cadmium French
grasses; the subtle violets of shad- red ultramarine
ows; beautiful browns; and earthy
yellows. You can dilute mixtures
for high-key paintings, but they lack
the subtlety of a high-key palette. TRADITIONAL
Even with its limitations, this is a COLOR WHEEL
very useful palette, particularly if
you supplement the traditional triad
with other colors, such as perma-
nent alizarin crimson, to improve its
transparency in mixtures.
Patricia Kister’s Just Organic (watercolor on

paper, 11x15) emphasizes a full range of
values from light to dark using the
traditional palette.
Old Masters’ Palette
The early masters were limited in Masters’ palette when they try it. Its violet mixtures don’t exist. Instead,
their color choices and used colors subtlety is sublimely moving and a good dark takes its place. The
much like the ones in this palette: highly effective. greens and oranges are low key and
raw sienna, Payne’s gray and burnt Any genre works well in this mysterious.
sienna. This palette of values and palette, but the colors are particularly This is the only time I recom-
intermediate tinting strength yields well-suited for portraits, autumn mend using Payne’s gray on your
low-intensity, semitransparent florals and landscapes. palette as a color in its own right
mixtures. It’s surprising how many With burnt sienna and Payne’s and not as a quick fi x for adding
artists fall in love with the Old gray substituting for red and blue, darks to a painting.
Raw sienna
Burnt Payne’s
sienna gray
OLD MASTERS’ COLOR WHEEL
The unity inherent in harmonious colors is evident in Carla O’Connor’s

After Eight (watercolor and gouache on board, 30x22), which reflects
the low-intensity color impression of the Old Masters’ palette.
O’Connor’s colors set a pensive mood that whispers rather than
shouts. This is clearly not the place for phthalo green, cadmium
orange or other attention-grabbing colors.

Opaque Palette
If you’re looking for unique expres- right in. Indian red has a stronger with the colors, laying them in with
sion, the opaque palette is a sure tinting strength than the other two a big brush, then leave them alone.
way to get it—but it’s tricky. The colors, but they all seem to work If you try to move the colors around,
mixtures are subtle and distinc- well together. you’ll make instant mud and disturb
tive. Colors for this wheel are yellow Extreme darks are impossible, the granulating effects of the colors.
ochre, cerulean blue and Indian but you can get dark enough to have Paint rocks, buildings and land-
red. While cerulean blue seems a bit effective value contrast. The limited scapes with this palette, and don’t
bright for a low-intensity palette, color range of the mixtures makes bypass portraits and flowers as
its density and opacity allow it to fit it interesting. Work on a wet surface intriguing possibilities.
Yellow ochre
Indian Cerulean
red blue
OPAQUE COLOR WHEEL
Cerulean blue granulates beautifully on watercolor paper, so I flowed

this color onto damp paper with a 3-inch hake brush and rocked the
paper gently so the paint would settle in Relics (watercolor on paper,
25x22). The opaque palette makes dusky violets and rich, earthy red-
oranges, and the low-intensity green mixtures harmonize with all the
other colors. I used plenty of water with these colors to ensure that
they wouldn’t turn thick and chalky.
Quinacridone gold
Brown Indigo
madder
BRIGHT EARTH
COLOR WHEEL
Pirouette (watercolor on board, 16x12) features the low-intensity colors

of the bright earth palette. Strong tinting strength and the option
for good light and dark contrasts are key to this color combination.
Although you can mix other colors to make these neutrals, you’ll enjoy
the convenience of having them together on your palette for low-
intensity paintings.
Bright Earth Palette

This is my personal favorite among including a brighter red or blue that Because brown madder and
the low-intensity triads. The bright will yield a violet mixture. Color indigo are staining colors, you won’t
earth palette has powerful tinting mixtures of the bright earth palette be able to do much correcting with
strength and is beautifully trans- are more transparent and some- this bright earth palette.
parent. With this palette, you can what brighter than those of the Old
achieve extremes of value from Masters’ palette, but still rather low Excerpted with permission from
bright lights to rich, powerful darks. in intensity. Exploring Color Workshop, 30th
Using quinacridone gold, indigo This palette results in distinctive Anniversary Edition by Nita Leland
and brown madder, you’re forfeit- portraits and abstract landscapes, (North Light Books, 2016), available
ing violet, but if you need it, you can but it’s effective for almost any at northlightshop.com and wherever
tweak the color in your painting by subject matter. books are sold.

“My friends all hate their
tt ge W
Co
Bu ig -NE
N act
on r
o
nt
s
B LL
cell phones… I love mine!” FR
r
A
s
EE
Here’s why.
Car
Charg
er
Say good-bye to everything you hate about cell phones. Say hello to the ALL-NEW Jitterbug Flip.
Monthly Plan $14.99/mo $19.99/mo

“Cell phones have gotten so small,
I can barely dial mine.” Not the Monthly Minutes 200 600
new Jitterbug® Flip. It features a larger Operator Assistance 24/7 24/7

keypad for easier dialing. It even has a Long Distance Calls No add’l charge No add’l charge
larger display so you can actually see it. Voice Dial FREE FREE
“I had to get my son to program it.” Nationwide Coverage YES YES
Your Jitterbug Flip set-up process is Friendly Return Policy 1
30 days 30 days
simple. We’ll even program it with your
More minute plans available. Ask your Jitterbug expert for details.
favorite numbers.
“I’d like a cell phone to use in an emergency, but I
“I tried my sister’s cell phone…
don’t want a high monthly bill.” The Jitterbug Flip
I couldn’t hear it.” The Jitterbug Flip
has a plan to fit your needs… and your budget.
is designed with a powerful speaker and
is hearing aid compatible. Plus, there’s an “Many phones have features that are rarely
adjustable volume control. needed and hard to use!” The
Jitterbug Flip contains easy-to-use
“I don’t need stock quotes, Internet sites
features that are meaningful to you.
or games on my phone. I just want to
A newly designed built-in camera
talk with my family and friends.” Life
makes it easy and fun for you to
is complicated enough… The Jitterbug
capture and share your favorite
Flip is simple.
5Star Enabled memories. And a new flashlight
“What if I don’t remember a number?” with a built-in magnifier helps you
12:45P
Friendly, helpful Operators are available 24 see in dimly lit areas, the Jitterbug
Mon Oct 24
hours a day and will even greet you by name Flip has all the features you need.
when you call.
Enough talk. Isn’t it time you
“My cell phone company wants to lock me in found out more about the cell
a two-year contract!” Not with the Jitterbug Flip. phone that’s changing all the rules?
There are no contracts to sign and no penalty if you Call now, Jitterbug product experts
discontinue your service. are standing by.
Available in
Red and Graphite.
Order now and receive a NEW Jitterbug Flip Cell Phone

Call toll-free to get your Jitterbug Flip.
FREE Car Charger for your Jitterbug Flip – Please mention promotional code 104541.
a $25 value. Call now!
1-877-556-8364
www.jitterbugdirect.com
We proudly accept the following credit cards:
47665
IMPORTANT CONSUMER INFORMATION: Jitterbug is owned by GreatCall, Inc. Your invoices will come from GreatCall. Plans and Services require purchase of a Jitterbug phone and a one-time setup fee
of $35. Monthly fees do not include government taxes or assessment surcharges and are subject to change. Coverage is not available everywhere. 5Star or 9-1-1 calls can only be made when cellular service
is available. 1We will refund the full price of the Jitterbug phone and the activation fee (or setup fee) if it is returned within 30 days of purchase in like-new condition. We will also refund your first monthly
service charge if you have less than 30 minutes of usage. If you have more than 30 minutes of usage, a per minute charge of 35 cents will be deducted from your refund for each minute over 30 minutes. You
will be charged a $10 restocking fee. The shipping charges are not refundable. There are no additional fees to call GreatCall’s U.S.-based customer service. However, for calls to a GreatCall Operator in which
a service is completed, you will be charged 99 cents per call, and minutes will be deducted from your monthly rate plan balance equal to the length of the call and any call connected by the Operator. Jitterbug
and GreatCall are registered trademarks of GreatCall, Inc. ©2016 GreatCall, Inc. ©2016 firstSTREET for Boomers and Beyond, Inc.
ar tist’s marketplace
Inspiring painting holidays in rural Tuscany
Birgit Jeanne Carbonetti www.watermill.net
O’Connor The Zen of Creative
Watercolor Painting DVD “Our best holiday ever!”
Free Other books: We offer stimulating, fun-filled
courses with acclaimed tutors based
Online Course The Tao of Watercolor in a beautiful setting in unspoilt Italy.
The Heart of Creativity
The Magic Heart
Workshops DVD: The Tao of Watercolor
Books & DVDS
www.crowhillgallery.com
Email: info@watermill.net
www.birgitoconnor.com 802-875-3763 Call Bill or Lois: +39 366 488 2587
Advertiser’s Index
American Watercolor Society . . . . . .17 Our
Andy Evansen . . . . . . . . . . . . . . . . . . 69 classes
Aquarelle Studios And Galleries . . . .71
last a
lifetime.
Art In The Mountains . . . . . . . . . . . . 70
Birgit O’Connor . . . . . . . . . . . . . . . . . 67
MARJORIE GLICK
watercolor workshops 2017
Blick Art Materials . . . . . . . . . . . . . . BC focusing on dynamic color and light What you learn at the
coastal maine, massachusetts Folk School stays with you.
Canson . . . . . . . . . . . . . . . . . . . . . . . . 5
and pennsylvania JOHN C. CAMPBELL FOLK SCHOOL
Caran d’Ache . . . . . . . . . . . . . . . . . . 13
see website for dates and info: folkschool.org 1-800-FOLK-SCH
Creative Art Workshops . . . . . . . . . . 68 www.marjorieglick.com BRASSTOWN NORTH CAROLINA
Crow Hill Gallery . . . . . . . . . . . . . . . . 67

F+W . . . . . . . . . 10, 15, 17, 19, 21, 46, IBC
Firststreet . . . . . . . . . . . . . . . . . 58, 66
HUDSON RIVER VALLEY
Georgia Watercolor Society . . . . . . . 67
ART WORKSHOPS
Learning, Laughter,
Golden Artist Colors . . . . . . . . . . . . . 21 and Friendships in a
Hudson River Valley . . . . . . . . . . . . . 67 Relaxing, Inspiring, and
Huntsville Museum Of Art . . . . . . . . 68 Inviting Environment
Jerry’s Artarama . . . . . . . . . . . . . 17, 19 Call Toll-Free 1-888-665-0044
TONY VAN HASSELT
A
W
John C. Campbell Folk School . . . . . 67 S
Plein Air
PleinAir
Plein Air Watercolor Workshops
Workshops
Painting Workshops Lisa Pressman Mar 19-25, 2017
Kanuga . . . . . . . . . . . . . . . . . . . . . . . 70 HOW
ART TO
BOOKS Mar
Feb:8:Paint
Paintinscenic
warm,Southport, NC
sunny Mexico Susan Ogilvie Mar 26-Apr 1, 2017
Mar
Mar:28: St. Simons
Victorian Island, Georgia
Fernandina, Florida Jane Davies May 7-13, 2017
Legion Paper. . . . . . . . . . . . . . . . . . . . 3 ART BOOKS
WEB TIPS
Jun: VillagesScenic
of Provence,
Jun/Jul/Sept: CoastalFrance
Maine
AND DVD’S
AND DVD’S Jul: 30:
Aug Hudson
HudsonValley workshop,
River NY
Valley, NY Barbara Nechis May 17-21, 2017
Louisiana Watercolor Society . . . . . 68 Patti Mollica May 21-27, 2017
800-248-6449 • tonyvanhasselt.com
vanhasseltworkshops.com
Marjorie Glick . . . . . . . . . . . . . . . . . . 67 Robert Burridge Jun 4-10, 2017
Liz Kenyon Jun 18-24, 2017
Nancy Couick Studios & Gallery . . . 70 Paul Leveille Jun 25-Jul 1, 2017
Quiller Gallery, LLC . . . . . . . . . . . . . . 13 Paul George Jul 5-9, 2017
Tony van Hasselt Jul 9-15, 2017
Renaissance School Of Art . . . . . . . . .71
Gerald Brommer Jul 16-22, 2017
Savoir Faire. . . . . . . . . . . . . . . . . . . . IFC David Daniels Jul 23-29, 2017
The Teaching Company/Advertising . 9 Alvaro Castagnet Aug 2-6, 2017
38th Kim English Aug 6-12, 2017
Tom Lynch . . . . . . . . . . . . . . . . . . . . . .71 National Exhibition Self-Directed Retreat Sep 3-9, 2017
Tony van Hasselt . . . . . . . . . . . . . . . 67 Ann Lindsay Sep 10-16, 2017
March 11 - April 29, 2017
$10,000 in awards
David Taylor Sep 17-23, 2017
Transparent Watercolor Society . . . 70 Leah Lopez Sep 24-30, 2017
Juror: Fealing Lin
Watercolor Art Society - Houston . . 68 www.fealingwatercolor.com Skip Lawrence Oct 1-7, 2017
Workshop: March 7-10 John MacDonald Oct 8-14, 2017
Watermill, The . . . . . . . . . . . . . . . . . 67 Fran Skiles Oct 15-21, 2017
Carrollton, GA
Western Colorado WC Society . . . . . 68 Prospectus available at:
www.georgiawatercolor.org artworkshops.com

ar tist ’s marketplace
ARIZONA 1/10-1/12/17, Sacramento. WASH - Sacramento Fine
Call For Entries Andy Evansen, AWS, PAPA Arts Center. Fearless Flowers.
1/9-1/13/17, Tucson. Contact: Susan Davis, 916/359-7691
D E A D L I N E : N OV E M B E R 15 , 2 016 MISA Winter Workshop at Tanque Verde Ranch. suedavis@winfirst.com
Colorado, Grand Junction, 2017 Rockies West Contact: misa@cheqnet.net or 5/15-5/18/17, CWA California Watercolor Society.
National, 25th Annual Exhibition, February 28 - www.madelineschool.com Contact: Wendy Oliver, awesomeart44@yahoo.com
April 1, 2017. Juror: Iain Stewart. $1,000 Best of show,
numerous other cash & merchandise awards. Email
Birgit O’Connor C O LO R A D O
registration deadline, November 15, 2016. Download 4/12-4/15/17, Phoenix. Quiller Gallery
Prospecus: www.wcwsociety.org or send SASE to: Contact: Sheila Belland, 520/350-2577 6/3-6/9/17, Creede. Experimental Water Media.
WCWS, PO Box 3584, Grand Junction, CO 81502-3584 shebe49@gmail.com 4 UR Ranch, PO Box 340, Creede, CO 81130.
CALIFORNIA Contact: Robin Christensen
D E A D L I N E : JA N UA RY 17, 2 017 719/658-2202 or Fax 719/658-2308
New Orleans: Louisiana Watercolor Society 47th Art In The Mountains robin@4urranch.com or www.4urranch.com
International Exhibit. May 6-20, 2017. Susan Webb 3/25-3/27/17 and 3/29-3/31/17, San Francisco. Alvaro
Tregay, juror. $8,000 total prizes. 1st Place: $2,500. 8/16-8/26/17, Creede. Intensive Color & Water Media.
Castagnet, “The Pillars of Watercolor!”, plein air. Quiller Gallery, PO Box 160, Creede, CO 81130.
Prospectus: www.LouisianaWatercolorSociety.org Intermediate to Advanced Outdoor Painters. Seeking Contact: Marta Quiller, 719/658-2741
D E A D L I N E : JA N UA RY 2 0 , 2 017 answers and understanding? This workshop will info@quillergallery.com
Watercolor Art Society-Houston 40th Annual Juried explain all aspects of successful painting using
International Exhibition, March 14 - April 6, 2017. frequent demonstrations and detailed analysis. We F LO R I DA
Houston, Texas. $6,000 total cash awards, $2,000 will explore a range of subject including composition Art School Renaissance, Sarasota
first prize. Juror & Instructor: Stephen Quiller. and design, effectively using light and dark values, 10/28/16, Hodges Soileau Demo.
Workshop: March 13-17, 2017. 713/942-9966, color mixing, edges, brush stroke techniques and 11/4/16, Vlad Yeliseyev Demo.
intlwatercolorexhibit@gmail.com or much more. 11/7-11/9-11/11/16, Vladisalv Yeliseyev, Watercolor
www.watercolorhouston.org 7/11-7/13/17, Laguna Beach. Mary Whyte, “Still Life, Workshop Studio/Plein Air.
Portrait and Figure”, watercolor - studio. All levels 11/16-11/18/16, Hodges Soileau, Remaining Open to
welcome. Explore the wonders of watercolor with an Painting Possibilities. Oil. Studio.
Workshops inspirational three-day workshop in Laguna Beach November 2016 - May 2017, Various classes in
California. Mary will cover the fundamentals of getting drawing and painting.
ALABAMA a likeness, planning dynamic compositions, mixing 1/30-2/1/17, Lian Quan Zhen, Watercolor and Chinese
Huntsville Museum of Art clean colors, achieving value balance and creating Painting.
11/7-11/11/16, Huntsville. Ted Nuttall, Watercolor paintings with emotion. Her daily demonstrations 2/6-2/8/17, Bill Farnsworth, Plein Air to Studio. Oil.
Portraits – Painting the Figure from Photographs. from life and one-on-one assistance will guide you to 2/11-2/13/17, Charlie Hunter, Composition in Plein Air
2/3-2/4/17, Huntsville. Jean Hess, Challenging making your best paintings ever. Water based Oil.
Collage. 9/11-9/15/17, Monterey. David Taylor, Staying Afloat in 3/15-3/17/17, Mark Boedges, Painting Landscape
3/16-3/19/17, Huntsville. Kathy Durdin, Loosening Up & Watercolor. Plein Air.
Seeing Color Everywhere: Watercolor Portraits. Contact: Tracy Culbertson, 503/930-4572 3/24-3/26/17, Vladislav Yeliseyev, Plein Air Watercolor
3/23-3/25/17, Huntsville. Qiang Huang, Still Life Oil info@artinthemountains.com or workshop.
Painting. www.artinthemountains.com For more classes and workshops visit
4/3-4/7/17, Huntsville. Mel Stabin, Watercolor: Simple, Tom Lynch www.yeliseyevstudio.com
Fast and Focused! 12/6-12/9/16, Palos Verdes. Contact Marina: 941/330-6865, school@yeliseyev.com
8/24-8/26/17, Huntsville. Michael Story, Contact: 630/851-2652
Understanding Skies & Reflections: Landscape Jaimie Cordero
Tomlynch@msn.com or www.TomLynch.com 2/6-2/9/17, Maitland. Layering Color for Translucent
Painting in Oil or Pastel.
Contact: Laura E. Smith, Director of Education/ Birgit O’Connor Light & Shadow. 4-Day Watercolor Workshop.
Museum Academy, 256/535-4350 x222 11/14-11/18/16, Calistoga. Floral Abstractions. Central Florida Watercolor Society.
lsmith@hsvmuseum.org or http://hsvmuseum.org/ Contact: Birgit O’Connor, 415/868-0105 Contact: Richard Lewis, 386/960-7333
museumacademy/master-artist-workshop birgitoconnor@sbcglobal.net rdl5151@hotmail.com
Bev Jozwiak, AWS, NWS 248-624-4902 Chris Unwin, NWS

Workshop Video on DVDs
Start to Finish Paintings
Alexis Lavine, TWSA Workshop Video on DVDs
New 4 Day Workshop Video on DVDs
with 7 Start to Finish Paintings
Nita Engle, AWS

Workshop Video on DVDs
Orbiting
See 8 Minute Segments
Of Lexie’s, Bev’s, Nita’s, & Chris’
Her Own Sense of Style
Workshop Videos
Order Info For Books & Videos - WWW.ChrisUnwin.net
For questions regarding class contents, contact 6/12-6/16/17, Chicagoland/Kenosha. landscape at hand with regards to color, composition,
Jaimie at: 786/303-5293 or email: Bruce Handford, “Bold and Fresh Water/Landscape”. and paint handling. The afternoons will be spent
WDJaimieC@aol.com Contact: Vickie, 262/484-1261 painting on your own with plenty of individual
Tom Lynch wigolfgirl90@yahoo.com or www.watercolors.org guidance from Marjorie. Orrs Island is 30 minutes by
1/23-1/27/17, Bonita Springs. LO U I S I A N A car from Portland, Maine airport.
2/6-2/9/17, The Villages. 8/27-8/31/17, Stonington. Watercolor Plein Air. This
Art In the Mountains
2/16-2/18/17, Palm Beach. magical coastal landscape is an inspiring place to
3/6-3/8/17, New Orleans. Mary Whyte, The Best
Contact: 630/851-2652 of Watercolor, studio. Join Mary Whyte for an paint and sets the stage for you to have a wonderful
Tomlynch@msn.com or www.TomLynch.com extraordinary workshop in watercolor in New Orleans, artistic experience with an accomplished artist who
LA. Paint still life and clothed models. Mary will loves to teach. This workshop is geared towards all
Tony van Hasselt, A.W.S.
demonstrate and guide you through the techniques levels and will focus on how color and paint handling
3/20-3/24/17, Victorian Fernandina. Plein air
of planning your compositions, drawing, mixing color can be used to create your own interpretation of the
watercolor fun on sunny Amelia Island. Stately
and creating great backgrounds. She will show you specifics of the landscape. Daily demonstrations,
homes with moss-draped oaks plus a harbor,
how to work with the model, avoid mistakes and give ample time for painting, individual guidance and
boats and rickety docks. Demonstrations, lots
personal critiques and great tips for marketing your critiques are included. Stonington, Maine is 90
of individual painting time and assistance.
work. minutes by car from Bangor, Maine airport.
Contact: www.vanhasseltworkshops.com Contact: Tracy Culbertson, 503/930-4572 Contact: www.marjorieglick.com
Vladislav Yeliseyev, NWS info@artinthemountains.com or
2/20-2/22/17, Key Largo. Watercolor Workshop. www.artinthemountains.com M A S S AC H U S E T T S
3/2-3/4/17, Cape Coral. Art League Watercolor Tom Lynch Andy Evansen, AWS, PAPA
Workshop. 5/3-5/6/17, Metairie. (New Orleans). 1/26-1/29/17, Boston.
Contact: 239/772-5657, www.capecoralartleague.org Contact: 630/851-2652 New England Watercolor Society.
3/31-4/2/17, Miami. Watercolor Society Watercolor Tomlynch@msn.com or www.TomLynch.com Contact: aevansen@gmail.com or
Workshop. Studio. www.miamiwatercolor.org www.EvansenArtStudio.com
MAINE
11/13-11/15/17, Ft. Myers. Beach Art Association.
Contact: 952/210-6888, www.fortmyersbeachart.com Marjorie Glick MICHIGAN
November 2016 - May 2017, Sarasota. Watercolor 6/11-6/16/17, Stonington. Watercolor Plein Air: Color Chris Unwin
and Light. This magical coastal landscape is an Watercolor Workshop Weekly on Wednesdays.
classes and workshops. www.yeliseyevstudio.com
artists’ paradise! Stretch your perception of how
Contact: 941/330-6865, school@yeliseyev.com West Bloomfield, MI 48322
you see, think about, and paint the landscape by
Spring 2017, Soon Warren.
GEORGIA learning new ways of interpreting it with color and
composition. Express your ideas using watercolor’s Contact: Chris Unwin, 248/624-4902
Tom Lynch ChrisUnwin@att.net or www.ChrisUnwin.net
elusive qualities of spontaneity and transparency.
3/7-3/10/17, Albany.
Expand what you know through individual mentoring. M I N N E S O TA
Contact: 630/851-2652 Daily demonstrations, ample time for painting,
Tomlynch@msn.com or www.TomLynch.com individual guidance and critiques are included.
Andy Evansen, AWS, PAPA
Stonington, Maine is 90 minutes by car from Bangor, 10/10-10/13/16, Hastings. Evansen Art Studio.
ILLINOIS Contact: aevansen@gmail.com or
Maine airport.
Transparent Watercolor Society of America 7/9-7/13/17, Orrs Island. Watercolor Plein air all levels. www.EvansenArtStudio.com
6/5-6/9/17, Chicagoland/Kenosha. Orrs Island is a wonderful place to paint because of
Jean Pederson, “Luscious Wet Portraiture”. N E VA DA
its varied scenery of quiet coves, rugged coastline,
6/5-6/9/17, Chicagoland/Kenosha. Bruce Handford, and quintessential New England buildings. Our Birgit O’Connor
“Light and Shadow in Rural/Cityscape”. lodgings have spectacular views from the large porch 8/15-8/18/17, Reno. Fearless Florals.
6/12-6/16/17, Chicagoland/Kenosha. of sunset and water. Each morning begins with a August 19 Demonstration 1-3 pm.
Jean Pederson, “Wet Glazing Stills and Florals”. demonstration that addresses the specifics of the Contact: Tricia Leonard, triciastudio@att.net

ar tist ’s marketplace
NEW MEXICO Kanuga capture it with paint. Herman will teach you to find
Birgit O’Connor 4/23-4/27/17, Hendersonville. Don Andrews, Carol originality in your own work. Get started with new
7/17-7/21/17, Cloudcroft. Cloudcroft Art Workshops. Frye, Stephanie Goldman, Ken Goldman, Paul ideas in a way that is fun and fast. You will learn
Contact: Linda Shiplett, 915/490-5071 Jackson, Karen Knutson, Sandy Maudlin, Joseph about color mixing, glazes, composition, drying time,
lindas@cloudcroftart.com or CAW@cloudcroftart.com Melancon, Michael Reardon, Jeanne Rosier Smith, thickness and edges to create an impressionist
Jo Toye, and Lian Quan Zhen. painting you never thought possible with watercolor.
N E W YO R K Contact: Robbie Laird, 530/259-2100 Expect to be challenged to be brave, and to have fun!
Hudson River Valley Art Workshops www.KanugaWatermediaWorkshops.com 8/21-8/25/17, Bend. Fabio Cembranelli, “Intuitive
3/19-3/25/17, Lisa Pressman. Tom Lynch Painting, Transcending the Subject!”, watercolor,
3/26-4/1/17, Susan Ogilvie. 11/10-11/13/16, Raleigh. studio. Learn to take advantage of transparent
5/7-5/13/17, Jane Davies. Contact: 630/851-2652 watercolor to create loose, intuitive, free and
5/17-5/21/17, Barbara Nechis. Tomlynch@msn.com or www.TomLynch.com spontaneous effects in your paintings. Join Fabio
5/21-5/27/17, Patti Mollica. Cembranelli and explore wet-on-wet techniques,
Nancy Couick Studios, Charlotte
6/4-6/10/17, Robert Burridge. practicing how to paint with no preliminary drawing.
2/9-2/11/17, Charlotte. Ryan Fox.
6/18-6/24/17, Liz Kenyon. You will learn how to take advantage of your own
6/25-7/1/17, Paul Leveille. 3/2-3/5/17, Charlotte. Kim Johnson.
4/5-4/8/17, Charlotte. Peggi Habets. mistakes and capture the essentials of each subject.
7/5-7/9/17, Paul George. 8/28-9/1/17, Bend. Jane Davies, “100 Drawings,
7/9-7/15/17, Tony van Hasselt. 8/11-8/13/17, Charlotte. Alexis Lavine.
Contact: www.nancycouick.com Paintings, and Explorations”, acrylic, studio.
7/16-7/22/17, Gerald Brommer. How do you make good art? How do you make art
7/23-7/29/17, David Daniels. Birgit O’Connor that is truly yours? My view is that there are no
8/2-8/6/17, Alvaro Castagnet. 6/12-6/16/17, Boone. Cheap Joe’s. tricks, gimmicks, or shortcuts to this elusive goal: it
8/6-8/12/17, Kim English. Contact: Edwina, 800/227-2788 ext. 1123 just takes a lot of art making to cultivate your inner
9/3-9/9/17, Self-Directed Retreat. edwina@cheapjoes.com
awareness of who you are as an artist. Fortunately,
9/10-9/16/17, Ann Lindsay. making a lot of art is fun, if you can let go of the
9/17-9/23/17, David Taylor.
OHIO
Vladislav Yeliseyev expectations and negative voices (that inner critic!)
9/24-9/30/17, Leah Lopez.
10/17-10/19/16, Dayton. Watercolor Workshop. that get in your way. In this workshop we will focus
10/1-10/7/17, Skip Lawrence.
Western Ohio Watercolor Society. on quantity – making a lot of pieces from a given
10/8-10/14/17, John MacDonald.
Contact: Rlwright090587@yahoo.com or starting point.
10/15-10/21/17, Fran Skiles.
www.westernohiowatercolorsociety.org Contact: Tracy Culbertson, 503/930-4572
Contact: 888/665-0044
info@artworkshops.com or www.artworkshops.com info@artinthemountains.com or
OREGON www.artinthemountains.com
NORTH CAROLINA Art In The Mountains
P E N N SY LVA N I A
John C. Campbell Folk School 7/31-8/4/17, Bend. Richard McKinley, Pastels, Plein Air.
10/23-10/28/16, Marcy Chapman, A Hands-On 8/7-8/11/17, Bend. Herman Pekel, “The Importance Marjorie Glick
Exploration of Three Japanese Art Forms. $564. of Tone”, oil - plein air and studio. Come join a 9/11-9/15/17, Hummelston. Pennsylvania Watercolor
10/30-11/5/16, Sally B. Pearson, A Path to Better week of exploring the beauty of color in oils. Society. Dynamic Color For Watercolorists. Stretch
Watercolors. $630. Designed for all levels of experience in oils, this is your perception of how you see, think about, and
11/6-11/12/16, Redenta Soprano, Botanical Drawing – an exciting and informative workshop helping you interpret color while you learn to use color in fresh
Shaker Seed Packs. $630. to train your eye in the discipline of observation. new ways. You’ll work on subjects of your choosing
12/4-12/10/16, Jane Voorhees, Small-Scale Watercolor There will be demonstrations each day based on and will re-imagine them using watercolors elusive
for Beginners. $630. the solid fundamental approach championed by qualities of spontanaeity and transparency. My
1/4-1/7/17, Alan R. Young, Painting in Dry-Brush the impressionists and realists. We will explore teaching style is relaxed, comprehensive, and
Watercolor (Long Wkd) $424. landscapes, streetscapes and waterscapes. eclectic with an emphasis on creative color use. In
1/15-1/21/17, Gay Bryant, Watercolor I, $630. 8/14-8/18/17, Bend. Herman Pekel, “Be Brave and depth study of color mixing, wet into wet, layering,
Contact: John C. Campbell Folk School Have Fun”, watercolor - plein air and studio. Unearth light and shadow.
Brasstown, NC 800-FOLK-SCH or www.folkschool.org fresh and honest art inside yourself and learn to Contact: PWS Work Shops, pwswrkshops@gmail.com
the Transparent Watercolor Society of America

41th Annual
³3UHPLHU'HVWLQDWLRQ:RUNVKRSV´ EXHIBITION
-RKQ6DOPLQHQ
May to August 2017
1HZ<RUN2FW 2017 WATERMEDIA Kenosha Public Museum, WI
&KDUOHV5HLG
WORKSHOPS
1HZ2UOHDQV2FW1RY OVER $20,000 in AWARDS
&KDUOHVWRQ2FW Hendersonville, North Carolina Entries received by January 31, 2017
0DU\:K\WH Instruction - Sun.-Thu. online entries only at CaFE
1HZ2UOHDQV0DU www.CallForEntry.org
/DJXQD%HDFK-XO (April 23-27, 2017) Jurors and June workshop presenters:
$OYDUR&DVWDJQHW Jean Pederson, CSPWC
DON ANDREWS
6DQ)UDQFLVFR0DU Bruce Hanford, TWSA MS
1HZ<RUN$SU CAROL FRYE
.DUO\Q+ROPDQ STEPHANIE GOLDMAN
&UXLVH$SU0D\ KEN GOLDMAN
6DQWLDJR&KLOH6DQ)UDQFLVFR
5LFKDUG0F.LQOH\ PAUL JACKSON
%HQG-XO$XJ KAREN KNUTSON
+HUPDQ3HNHO SANDY MAUDLIN
%HQG$XJ$XJ JOSEPH MELANCON
)DELR&HPEUDQHOOL
%HQG$XJ MICHAEL REARDON
-DQH'DYLHV JEANNE ROSIER SMITH
%HQG$XJ6HSW JO TOYE
'DYLG7D\ORU LIAN QUAN ZHEN
0RQWHUH\6HSW
1RZDFFHSWLQJUHJLVWUDWLRQVRQOLQH www.KanugaWatermediaWorkshops.com
&RPHYLVLWXVWRGD\DW
ZZZDUWLQWKHPRXQWDLQVFRP Robbie Laird, Director
530/259-2100 (Pacific Time) for more info go to www.watercolors.org
RHODE ISLAND
Birgit O’Connor
International with wine at charming local restaurants) and all local
transportation (including transfers to Pisa airport and
CHILE an excursion by train to Lucca or the Cinque Terre).
10/17-10/21/16, RIWS Rhode Island Watercolor Society.
You get to Pisa, Italy; we do the rest!
Contact: Lori Estrella, 401/726-1876 Art In The Mountains The 2017 painting tutors at the watermill are:
riwsdirector@gmail.com 4/25-5/15/17, Santiago. Karlyn Holman, “20-Day South 5/13-5/20/17, Watercolours with Doranne Alden
American Cruise”, watercolor plus, studio. All Levels (from Malta).
SOUTH CAROLINA Welcome. Join us for the adventure of a lifetime. 5/27-6/3/17, Watercolours with Sandra Strohschein
Art In The Mountains Karlyn Holman and Art in the Mountains invite you to (from USA).
10/16-10/20/17 and 10/23-10/27/17, Charleston. join us on this 20-day art adventure from Santiago, 6/3-6/10/17, Oils and drawing mediums with Sarah
Charles Reid, Painting and Drawing with Charles. Chile to San Francisco, California. Karlyn will provide Spencer (from UK)
Contact: Tracy Culbertson, 503/930-4572 instruction, demonstrations, individual help and 6/10-6/17/17, Watercolours with Keiko Tanabe
info@artinthemountains.com or critiques on the 8-days at sea so you can enjoy your (from Japan/USA).
www.artinthemountains.com off-shore excursions with your companion(s). 6/17-6/24/17, Oils, acrylics, pastels and drawing
Contact: Tracy Culbertson, 503/930-4572 mediums with Maggie Renner Hellmann (from USA).
TEX AS info@artinthemountains.com or 6/24-7/1/17, Watercolours with Lea Nixon (from UK).
Quiller Gallery www.artinthemountains.com 7/1-7/8/17, Watercolours (and oils, pastels and
3/13-3/17/17, Houston. Watercolor Art Society of ENGLAND acrylics) with Terry Jarvis (from Australia).
Houston, 1601 West Alabama, Houston, TX 77006. 7/8-7/15/17, Watercolours with Sue Bradley (from UK).
Contact: Louise Bateman, 713/942-9966
Andy Evansen, AWS, PAPA 7/15-7/22/17, Watercolours, pastels, collage and mixed
LouiseHBateman54@gmail.com 5/3-5/13/17, Cotswolds. Coastal Maine Workshops. media plus acrylic with Sue Ford (from UK).
Contact: info@coastalmaineartworkshops.com 8/26-9/2/17, Watercolours with Varvara Neiman
VERMONT Quiller Gallery (from UK).
Vladislav Yeliseyev, NWS 9/3-9/13/17, Cornwall. Jack Richeson Company, 9/2-9/9/17, Watercolour and drawing (also gouache
7/31-8/3/17, Landgrove. InView Center for the Arts. PO Box 160, Kimberly, WI 54136-0160. and acrylics) with Mike Willdridge (from UK).
Watercolor Workshop. Contact: Colleen Richeson Maxey, 800/233-2404 9/9-9/16/17, Painting plants with coloured pencils with
Contact: 800/669-8466, vtinn@sover.net or colleen@richesonart.com Janie Pirie (from UK).
www.artworkshopsatthelandgroveinn.com 9/23-9/30/17, Pastels with Rebecca de Mendonça and
FRANCE Nel Whatmore (from UK).
WISCONSIN Vladislav Yeliseyev, NWS 9/30-10/7/17, Watercolours (and acrylics and oils) with
Transparent Watercolor Society of America 9/11-9/18/17, Provence. Join Vlad in the heart of Charles Sluga (from Australia).
Provence where he will show you how to quickly Contact: Bill or Lois at info@watermill.net or
6/5-6/9/17, Kenosha/Chicagoland.
capture the essence of the scenery with dynamic phone: +39 366 488 2587. More details on
Jean Pederson, “Luscious Wet Portraiture”.
and powerful impressionistic approach. Small group. www.watermill.net/painting-holidays
6/5-6/9/17, Kenosha/Chicagoland. Bruce Handford,
Contact: 510/483-5713, contact@frenchescapade.com
“Light and Shadow in Rural/Cityscape”. MEXICO
or www.frenchescapade.com/trips-painting-
6/12-6/16/17, Kenosha/Chicagoland. provence.html Tom Lynch
Jean Pederson, “Wet Glazing Stills and Florals”. 1/7-1/14/17, Puerto Vallarta.
6/12-6/16/17, Kenosha/Chicagoland. I TA LY Contact: 630/851-2652
Bruce Handford, “Bold and Fresh Water/Landscape”. The Watermill at Posara Tomlynch@msn.com or www.TomLynch.com
Contact: Vickie, 262/484-1261 Unique painting workshops with renowned Tony van Hasselt, A.W.S.
wigolfgirl90@yahoo.com or www.watercolors.org international tutors at a beautifully restored 17th 2/18-2/25/17, Boca de Tomatlan. Escape the cold
Century watermill. Seven days, seven nights to join this Tropical Escapaint in watercolor and
W YO M I N G full-board accommodation. Painting in stunning sketchbook journaling. Be inspired in this safe and
Tom Lynch locations, excursion to Lucca or the Cinque Terre. peaceful little fishing village south of Puerto Vallarta.
6/5-6/9/17, Cheyenne. The cost of the holiday workshop includes tuition, Excursions to nearby sites and the Bay of Banderas.
Contact: 630/851-2652 accommodation (including all linen and towels), pre- All inclusive, tuition, meals and accommodations.
Tomlynch@msn.com or www.TomLynch.com dinner aperitifs, all meals (including dinners Contact: www.vanhasseltworkshops.com
Tomlynch@msn.com 630-851-2652
www.tomlynch.com
2016 WORKSHOPS
November 10 – 13 Raleigh, NC
December 6 – 9 Palos Verdes, CA
2017 WORKSHOPS
January 7 – 14 Puerto Vallarta, MEX
January 23 – 27 Bonita Springs, FL
February 6 – 9 The Villages, FL
February 16 – 18 Palm Beach, FL
March 7 – 10 Albany, GA
May 3 – 6 Metairie, LA (New Orleans)
June 5 – 9 Cheyenne, WY
Available For Workshops In Your Area
Visit www.ArtAcademyLive.com
Your Online Source For
Art Instruction 24/7

picture this
B Y K R I S T I G RU S S E N D O R F
Paint What Moves You
Flour Mill (watercolor on paper, 25¾x40)
“If I create from the heart, nearly I encountered this flour mill during a
local plein air competition in Utah.
everything works; if from the head, The abstract shapes intrigued me,
and I knew I needed to paint it again—
almost nothing.” —Marc Chagall only bigger. I’ve never finished a
watercolor this size [elephant sheet].
It was a real challenge trying to keep
it loose and a little sloppy, especially
with the industrial and architectural
details. I had to keep reminding
See Kristi Grussendorf’s experiments on a new watercolor myself that ‘interesting’ was more
paper on page 16. important than accurate.
Call for Entries EARLY-BIRD DEADLINE: 12.1.16
We want to see your light-filled watercolors!

Submit your best work showcasing your skill with painting
light for a chance to enjoy national recognition and be
published in North Light Books’ hardbound showcase
Splash 19: Illusion of Light.
“I don’t paint people and things;

I paint the way light reacts
to people and things.”
—Harley Brown
If tonal value is the structure—the bones and muscle—of the
painting, the illusion of light gives a painting its soul and allows
it to transcend mere paint on paper. Light, offset by dark,
creates emotion, sense of place, time of day, season and is
the stuff memories are made of. There would be no art—and
no life—without light. And artists work magic by creating the
illusion of light on two dimensions with pigment and water.
Submit your finest watercolors today!

artistsnetwork.com/
splashwatercolor
Art Credits: Painted Lady by Alisa Shea,
NORTH LIGHT BOOKS 14" × 10½"; Hope for the Homeless by
AN IMPRINT OF F +W, Anne Hightower-Patterson, 24" × 18";
A CONTENT + ECOM M ERCE COM PANY Passing Time II by Sherry Roper, 24" × 18"
Kujira (detail) by Shoko Yanagisawa
www.shokoyanagisawa.com
Made with Blick Artists' Watercolors

Professional-grade Blick Artists' Watercolors are made with rich, premium pigments
sourced from around the world. They deliver fluid, controlled washes time after time.
All 63 colors in the line exhibit the very best in transparency, luminosity, and permanent
brilliance, and are backed by our 100% satisfaction guarantee.
DickBlick.com 800.828.4548

Watecolor Magazine

Încărcat de

Informații document

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Watecolor Magazine

Încărcat de

Drepturi de autor:

Formate disponibile

10 Emerging Artists Get the Most From 6 Shortcuts to Create Depth With This

You Should Know Reference Photos Color Harmony Surprising Technique

I N S PI R ATI O N • I D E AS • I N STR U CTI O N

Go to www.savoirfaire.com/youropinioncounts and receive a free gift for your contribution.

WHERE THE ART OF PAPERMAKING BEGAN

Watercolor Artist | December 2016 1

Editor-in-Chief Kelly Kane

Printed in the USA

Kathy Collins Kristi Grussendorf Nita Leland

Carole McDermott Catherine P. O’Neill John Salminen

This unique paper oﬀers artists:

Available at Fine Art Retailers

T ransportation leaders in Paris

Individuals on the C line, which

Paris train passengers are treated to images

lush gardens. Another train, featur-

Watercolor Artist | December 2016 7

What Are The World’s Munch, Matisse, Schiele

See your art in AcrylicWorks 5!

A Pair of Jacks by Kenneth Hershenson

Early-Bird Deadline: February 1, 2017

T ry this: Paint a landscape featur-

Watercolor Artist | December 2016 11

Caran d’Ache, Swiss Made Excellence since 1915

INTRODUCING TWO COMPLETE DOUBLE DVD COURSES

Color Foundation Water Media Foundation

EACH SET $99.50 • WWW.QUILLERGALLERY.COM • 1-800-876-5760

watercolor meets collage

Step 1: Choose two watercolor

Step 2: Use a pencil and ruler

Step 3: Cut along the lines care-

Step 4: Apply paste (Yes! brand

Step 5: Repeat the process across

Artist’s Network University

Final step: Place the watercolor collage face down on

Watercolor Artist | December 2016 15

Dry Dock (watercolor on paper, 15x22)

In the image above, I wanted to see how

putting paint to paper

Step 2: I tend to paint with a lot of water, and my initial

Step 3: After the wash dried, I added saturated color

Watercolor Artist | December 2016 21

Watercolor Artist | December 2016 25

The Marriage of Nature

Watercolor Artist | December 2016 27

Watercolor Artist | December 2016 29

Watercolor Artist | December 2016 31

Watercolor Artist | December 2016 33

pouring and lifting for mist

bottom right is where I dropped

Step 7: I rewet and poured one

Step 8: I removed the masking

Final Step: I ﬁnished by painting

Watercolor Artist | December 2016 35

For Carrousel de Paris (watercolor on paper, 24½x26), the ironic

The subtle color gradations of the building facades

Watercolor Artist | December 2016 43

Tour the globe in John Salminen’s paintings inspired by

Exploring Color Workshop

Finding color combinations that not only work but

New Realism 4QMBTI*OTQJSJOH Vibrant Watercolor Tech- Watercolor Essentials,

SIDRA KALUSZKA CASON RANKIN

Clearance 12'5" (below; watercolor on YUPO, 26x20)

New Realism 4QMBTI*OTQJSJOH Vibrant Watercolor Tech- Watercolor Essentials,

530/259-2100 (Paciﬁc Time) for more info go to www.watercolors.org