watercolorartistmagazine.coma Professional artists like Justin Vining are finding the exceptional value and quality of PEO MNEs “The convenience of design of the Pocket Box allows me to use larger reservoirs for water without carrying anything extra into the field while giving me those same vivid blues & greens | have come to appreciate in my studio. I have found Van Gogh gives me the best colors I can find, even among the more expensive “professional ranges”. When | use up a pan, I can just fill that color from the tube and the next day, its dry and ready to take into the field.” wwwjustinvining.com ry Ask for the newly designed van Gogh watercolor pocketbox and the full line g 8 5 a here to a of watercolor paints at your ustin’s new video local fine art retailer vangogh.royaltalens.com van GoghFrom Sketchbook to Studio An urban landscape painter reveals his best tips for bringing the joy and spontaneity of sketches to your studio work. Say It With Flowers Chica Brunsvold, Lynne Railsback and Marlin Rotach share a love of flowers, but express it in uniquely exciting ways. June 2014 Drawn to Paint Solid drawings provide the underpinnings ‘on which Peter Quinn constructs shapes of brilliant color in his watercolor townscapes. Power Meets Subtlety Working from photos, Stan Miller draws us beyond the obvious in his watercolor and egg tempera figures and landscapes.6 Steps to More Dynamic Paintings—22 A Riot of Florals—t2, 32, 59 Inspired by Childhood Memories—16 Dramatic Landscapes and Figures From Photos—48 Fife Sheep (watercolor on paper, 14x10) by lain Stowart Making a Splash East meets West in another Chinese watercolor event, plus 8 tip for entiquing your ‘own work and a peek through ect reat eee ate Meet the Masters Pierre-Joseph Redouté painted flowers for royalty and scientific discovery. Creativity Workshop Tapping into childhood memo- ties for inspiration can lead to new creative breakthroughs. Watercolor Essentials ‘An accomplished floral painter shares her process for editing reference photos and painting plumeria. Editor's Note Featured Artists Picture This June 2014 oon tate) Gace ea ue cae tty et Hrcerees cares au Ro ts SeenUnsurpassed ame Watercolor Effects Albrecht Diirer® Watercolor Pencils are trusted by professional artists as the finest quality watercolor pencil available. Each pencil contains the highest quality pigments in thick, break resistant leads that dissolve completely with water. Get Inspired! Just look for the Visit www.fabercastell.com ts : jousting knights. and click on the Art & Graphic tab.editor’s note etching is the most direct form of artistic expression. With just a few simple marks, you can capture the essence of your subject. All you need is @ pencil and paper (although even a napkin or the back of an envelope will do). Whether you use sketches to record experiences, prac- tice your drawing skills or work out painting ideas, the trick is to trans- fer the much-sought-after feeling of immediacy to your watercolors. For Alabama artist fain Stewart (page 22), sketching is a crucial first step in his process. “To me, starting a large painting without, preliminary sketchwork is akin to jumping out of bed at some ungodly hour and attempting to run @ marathon having only casually mused about jogging beforehand.” In this issue, he walks you step by step through a painting-in-progress to demonstrate how he maintains the energy of his urban sketches in his studio work. You can see the footprint of lively sketchwork in Peter Quinn's vibrant townscapes (page 40) as well. A frequent traveler, he takes a sketchbook with him on all of his trips, filing them with lively, Iinear-style drawings in waterproof ink. Butit’s not just the architec- ture of a place that he endeavors to record, it’s the people who most, often capture his attention. “If were sitting here with a sketchbook now,” he says, “T probably be sketching figures rather than buildings. often put people in my pictures, perhaps because the composition requires that sense of movement, or because | want to introduce a story or provide a focal point.” With spring in full bloom, 1 hope you'll take the opportunity to open your own sketchbook and record the beauty of the season. Need inspiration? The gorgeous and varied floral paintings in "Say It With Flowers” (page 32) will have you grabbing your watercolor kitand heading out the door in no time. @ Write to Us Please share your questions ‘and comments by writin to Wotercolor Artist, Letter, 10181 Carver Road, Suite 200, Blue ‘Ash, OH 45242. Or -mall us at weamagfwmedia.com. Pane 4 watercolorartetmage JUNE 2014 Akeketeoler artist Editor-in-Chief Kelly Kane Art Director Jennifer Hoffman Managing Editor Jessica Canterbury Senior Esitor Beth Willams seciato Designer Hannah Balley ioe resident, Mec Slat Juke MacDonald Acvortsing Team Lede, Fine rt Mary McLane ea Sales Specaist Carol 3H5/641230; earl nee tured com eda Sales Coordinator Bab Pl £00 & CFO James Oale Senior VE, Operations Pil Graham Newsstand Slee Seot TMi scotthileprocecem 13216312222, wcamagetumesiacom Foreign subscribers 988/2463971 vwvonwaterolorartitmegasine.com 1720 River Read, New Mord Wy 07648, -ention Reales To catty Watercolor Artist yout ores, contact Debbie Pollo a 900/968-0969, wa ® \rerwedraengstn ns eedTHE WORLD'S FINEST WATERCOLOR PAPER | ARCHES’Enjoy A Bath Again... 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Best of all, you get it at no additional charge. * Comfort - Insist on ergonomic design, easy-to-reach controls. '** Endorsements - Only consider tubs that are ETL or UL listed. Also look for a tub tested to IAPMO standards and that’s USPC Certified. new & 4 Jacuzzi® je Walk-In Tub For information call: 1-888-684-8046 Call now Toll-Free and mention your special promotion code 58257. Improv! ‘Thirdpary francingaalable with approved cree. ‘Aging in the Home Remodeler nc is nether a broker nora lender. Not avaiable in Hawai and Alaska We are proud te support Operation Homefront in their cfforts to assist members ofthe miltaty and thei fami. 20973artists Chica Brunsvold www.chieabrunsvold.com chica srunsvold (page 32) holds bachelor’s and masters degrees from the University of Michigan School of Art and Design. She has exhibited in more than 200 national exhibitions and won Cozens of awards, She conducts one: ay workshops on painting watercolor on YUPO ana is represented bythe Gallery Underground in Arlington vegina lain Stewart www.stewartwatercolors.com Wistercolor artist and illustrator Ia ‘Stewart (page 22) i @signsture member ofthe National Watercolor Society. His ‘work has received numerous awards land been featured in many publications Inoluding Splash 1s (North Light Books), Ho's a sought.attr juror and workshop instructor ang mintsine 3 studio in Opelika, Alabama. Lynne Railsback http://lynnerailsback.com tyme Rallsback’s watercolors (page 432) have been exhibited in museums, botanical gardens, galleries, corporations and libraries throughout the United States and Europe, She's a member of the Amorican Society of Botanica Artist, Geneva Lake Art Association, the Brooklyn Botanic Garden's Florlegium Society and the Museum of Wisconsin Art. Peter Quinn http://peterquinn.umblr.com Peter Quinn (page 40), an slected ‘member ofthe Royal Watercolour Society ‘graduated from the Glasgow Schoo! fof Art with a degree in fine art and from the University of Sunderland with # Pho. Ina history. A recent prizewinner at the Glazgow institute of the Fine Arts, he shows regularly t Newcastle's Gallagher 4 Turner at galley Marlin Rotach www.marlinrotach.com Born in Salina, Kansas, Marlin Rotach (page 22) earned a B.FA. in painting from KKensas State University and an MLA. at the Universit of Nebraska. Today he works almost exclusively in watercolor, painting {or gallries and private commissions. Ho's a signature member of the National Watercolor Society and the Watercolor US. Honor Society, among others. Stan Miller www.stanmillernet ‘Stan Millr (page 48), « professional painter in watercolor and egg tempers for more than 30 years, has shown his paintings in numerous exhibitions, galleries and museums. He's a signature ‘member of the american Watarcalor Society (AWS), a8 well as an AWS award winner Miler slzo teaches warkshape ‘and classes throughout the United States, Watercolor Artist | une 2014Juror Thomas Plunket, president ofthe Royal Watercolour Society, describes Im Front of Table (Follow-up Sequel #6-7)(aiptych; watercolor and acryl, 4315129), by Shao Yuhao, of China, as “a palting both of stliness and power. i's an leonic image that floats between representation and abstraction” Yuhao's work won the ‘Shenzhen Watercolour Prize (Best of Show): $9,848 and a medal Watercolor News & Views BY JESSICA CANTERBURY The inaugural Shenzhen Watercolour Biennial brings together a wide range of painting styles. he need is so great for Chinese water- color artists to view the work of their international counterparts, and for the world to see what watercolorists in China are painting, it's an "urgent mission." So says Zhou Tianya, organizer and curator of the inaugural Shenzhen Watercolour Biennial that took place Decernber 10, 2013, through January 10, 2014. "Because of differences in language and culture, few Chinese artists go abroad and foreign painters seldom enter China to explore other painting styles," he says. Thus the necessity for an exchange. Held just north of Hong Kong at the Shenzhen Art Museum, the government. sponsored international exhibition featured 237 paintings—selected out ‘of 2,825 entries from 1,700 artists. Also included were 13 pieces by the jurors: Jurors of Selection and Awards Lu Hong and Liu Shouxiang, of China; David Taylor, of Australia; John Salminen, of the United States; Thomas Plunkett and Andy Wood, of the UK; Juror of Selection Chen Jian, of China; and supervising committee“| dream my painting, and then | paint my dream,” —vincent van Gogh members Tianya and Li Xiaoyang, of China. The 24 prizes totaled $70,558 in cash awards and $4,011 in art materials, Another bonus: The works will continue to gain greater exposure this year, traveling around China to the Ningbo Art Museum, ‘Wenzhou Library, Hei Longjiang Art Museum, Hubei Art Museum, Chongqing Art Museum, Shanxi Art Museum, Yinchuan Art Museum and Asia Watercolour Art Museum, ‘water Mirror © Bloom (above: watercolor on paper, 254974) by Lisa, of Chine, won one. of the Excellence Prizes Artate ont enthusiasts gather at the Shenzhen Art Museum for the ‘exhibition open: Ing and awards ‘ceremony. It’s a win-win situation, accord- ing to Tianya. “Chinese watercolor features a realistic style as the main- stream,” he says. “This exhibition undoubtedly broadened the horizons of Chinese watercolorists and enthusi- lasts, quenching the thirst for diversity. ‘The range of styles was also @ key fac- tor to its success.” Exhibiting U.S. artist Laurin McCracken, who attended the opening, agrees. "Being a part of this important exhibition has taught the best advice iever got aad Tesco ar Caan Moca eee er) oro) ei a aes eum Peer] cas cee cameras) CORE me that the Chinese are looking to the Western world, particularly the US, as the leaders in taking water- color beyond the traditional themes, techniques and subject matter of the traditional Chinese idiom,’ he says. Linda Baker, another featured US. artist who traveled to the opening, felt strong connection with the various talent. “I was moved not by the differ- ences but by the sameness, There were 45 countries present at the opening, speaking all kinds of languages and in various attire. For a brief moment in time, wasn't about politics, customs or physical differences—we were one in the pursuit of art” Learn more about the Shenzhen Watercolour Biennial at www.shen zhenbiennial.com.Rod and Reel (1975; watercolot on paper, 24x29) s one of Andrew WyetW's Window scenes that offers an inteor view as well asa landscape, Washington, D.C. ‘American artist Andrew Wyeth (1917-2009) had a long-standing preoccupation with the window as a subject, and for the first time such paintings are showcased rogether. Andrew Wyeth: Looking Out, Looking In, on view May 4 through November 30 at its only venue, National Gallery of Art, takes a cue from his 1947 tempera painting, ‘wind From the Sea, the fist of around 300 similar figureless scenes—60 of which are on display. ‘Whether in Chadds Ford, Pennsylvania, or Cushing, Maine, he ‘Wyeth re-created images of win- dows as a way to capture reflections, landscapes and interiors; explore different textures; and render fabric in motion. The selected watercolors, drawings and tempera paintings showcase these methods in various stages. Insights into his process are another high point of the show. For example, Wyeth was actually working on his iconic Christina’s World at the Olsen house in Maine when a windswept curtain caught his gaze. His sketch of it became Wind From the Sea Windows were a subject the artist, returned to many times over the years, says National Art Gallery Director Earl A Powell Ill “In these spare, elegant and abstract window paintings and works on paper, Wyeth tackled the complexities presented by the subject throughout his career. We hope that this exploration both on the walls and in the catalog will encourage a much closer look at Wyeth's work and contribute to the reassessment of his, achievement that is well underway. Find more details about the show at www.nga.gov. @att 0 FN rn CANT S, CELEBRATING THIRTY YEARS OF THE ARTIST’S MAGAZINE BLICK INK LILIEDAHL De Mairo NEWYORKCITY ART INSTRUCTION AT ITS BEST ¥ irtual Art Academy OSeNEW 1 WAVE’ CNtelier LEGION PAPER Interactive | ee Ce mou WTrekell BR GRAPH 2 WINSOR @ Strathmore 3 3 NEWTON" RICHARD SCHMID o canson 7 Enter the ArtistsNetwork.com Summer Sweepstakes beginning June 1, 2014 to win one of our Pee OS aS Cate au aa ec) Grand Prize Gift Certificate to Blick Art Materials! Visit our Sweepstakes Page Online for more aac RTA Sexymasters Beauty and Pierre-Joseph Redouté pa S an an n the last day of spring in 1840, Pierre-Joseph Redoute died while studying the snaw-white bloom of a lily. was a fitting end for a man who had devoted his life to paint- ing flowers for illustrious patrons who included Marie-Antoinette and Portrait of Pierre-Joseph Redouté (Gelgian, 1750-1840) by Frangois Gerard Botan lowers for a queen, the Emprese Josephine. This sup port allowed Redouté to exercise his passion: artistically preserving the greatest number of plant species for scientificrecord. In ll, he documented approximately 5,000 botanical species from all corners of the world Botanical Beginnings ‘With a father and grandfather who were both painters, Redouté was practically destined to become an artist, Along with his brothers, Redouté studied at the abbey school in Saint-Hubert, Belgium, where his father painted church decorations He collected native plants with his favorite teacher, the priest who concocted herbal cures from the apothecary’s garden, Exploring the fields and forests around the abbey sparked the young artist's fascination with the natural world. ‘Atage 13, Redouté left his home. town to make a living as an itinerant artist. He traveled around Belgium and France painting church murals and portraits for 10 years before if First published re eet settling in Paris to assist his older brother in painting theatrical scenery. He was studying plants at the Jardin du Roi (now the Jardin de Plantes) sn 1782 when he met the aristocratic botanist Charles-Louis L'Heritier. The well-connected L'Heritier not only introduced Redouté to members of the French elite, but also taught him flower dissection, botanical drawing and the Linnaean system of classify. ing species, which was gaining hold sn the scientific community. Within a few years, the flower painter con. tributed 54 illustrations to his first publication: Stirpus Novae (New Plants), authored by L’Heritier. Raphael of Roses Unlike most other botanical artists, Redouté always painted from life rather than from preserved speci mens. He studied plante and flowers under a microscope and practiced dissection, which gave him a thor ough understanding of botany that informed the three-dimensionality of hie paintings. His delicate errors ed aNrenderings done in thin layers of watercolor on vellum or parchme! earned Redouté the nickname “The Raphael of Roses.” ‘While on a trip to England to study and draw plants at the Royal B Gardens at Kew in 1787, Redouté learned the technique of stipple engraving. This technique employed tiny engraved dots that allowed for subtle gradations and tonal variation. These engravings offered the closest quality to his original watercolors and provided the format the artist's work would take for the remainder of his life. The original watercolors were reproduced as stipple engravings, printed as individual plates, hand colored and published in parts over several years. Collectors purchased each part and had them bound in 1 portfolio. For example, Redoute’s comprehensive Les Lilacées (Lilies) was published in 80 parts between 1802 ‘and 1816 for a total of $03 plates, The Empress’ Garden By 1788, Redouté was appointed Artist to the Office of Queen Marie Antoinette. He recorded plants Ei in the queen's garden at Versailles Pierre-Joceph Redouté knew his subjects inside and out. Works such as Pansies and Daisies and painted flowers to decorate (watercolor on parchment, 777) eeleet s ifetime of cominued education In floal paintings the walls of her cottages. His, eee coer Paneeremploy was short-lived with the oncoming French Revolution: Marie~ Antoinette was imprisoned in 1789 and executed in 1793, and Redouté’s association with her put him at risk, It’s possible that the respect he had earned within the scientific com- munity kept him safe and offered him en easy transition to the new French regime. ‘Though he had already served a queen, Redouté’s most fertile period was his employment by Empress. Josephine. After Napoleon became First Consul of France, Josephine pur- chased a chateau called Malmaison and hired Redouté to paint flower pictures for her bedroom in 1799. ‘At Malmaison, Josephine assem: bled « collection of exotic plants, hundreds of which had never before been grown in France. She imported plants from the Americas, Africa, ‘Australia and the Caribbean for her gardens and hothouses. Redoute’s first major commission was to docu- ‘ment plants in her garden. Jardin de Ja Malmaison (Garden of Malmaison) was published in 20 parts between 1803 and 1805, with a total of 120 plates. In 1804, Napoleon became Emperor and appointed Redouté Artistic as Painter to Josephine, Empress of the French, a position that provided an annual salary until the Empress! death in 1814. The artist recorded thousands of plants for the first time, including hundreds of tropi. cal species, 180 varieties of roses and even native plants of France, Redouté’s paintings not only left a legacy of great beauty, but also provided important information for the scientific record. @ TAMERA LENZ MUENTE he Taft Museun assistant curator a Cincinnati and a freelanc: riter sponsored by SouthwestArt Get yo ir artwork spotlighted in Southwest Art and win $2000! Enter your best work in our competition and show us your Cont ORIG pathos Prizes: First Place: $2000 Second Place: $1000 ‘Third Place: $500 10 Honorable Mentions: $100 gift certificate to North Light Shop, Ere eeseaescie sll verevoe teehee of Suave Art—one lucky wine's work wil be chosen far that ‘ese’ cower at. 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Imade the decision to take extended time out of the classroom for several rea- sons: The travel had become grueling: the large class sizes were exhaust- ing; the amount of time needed to prep for and then recover from teaching was ever-expanding; and my own work was suffering from neglect. I realized that the only thing Treally wanted was time—to paint, experiment, complete, challenge, focus and rejuvenate, Now, with my furlough gone by at the speed of light, I've discoveredunexpected benefits: artistic growth, clarity of purpose and inspiration. A product of the 1960s, I'm a big fan of Carlos Santana music. ‘What I call a sabbatical, he refers to as career suicide. Not only that, but he thinks it's great and does it frequently. “I love committing career suicide,” he says, “Once in a while, it's mandatory for any artist to commit career suicide, because you grow. Otherwise, you become like a rubber stamp guy... and then you hate yourself.” l agree wholeheartedly. Thad begun a group of paintings several years ago, but my work- shop schedule had monopolized ‘a majority of my time and atten- tion, causing me to put the works aside, While on leave, though, I was motivated to complete this series of large paintings based on my personal family history. I knew it was important to my growth—both personally end artistically—to work on this series, which I eventually entitled Lifelines, within the same timeframe for cohesiveness, find the complicated relation- ships of human beings—in particular, family dynamics—intriguing. [was fortunate to grow up in a happy extended family of three genera~ tions all living in two apartments ina big old home on Chicago's North Shore, There were 10 cousins in greater Chicago, of which I was BY CARLA O'CONNOR experimenting with claybord The nary ofan extended bioek f time was creatively froin and | took advantage of it to experiment with a new support: Claybord panels on heavy wooden cradles by Ampersand The beaut uta ‘smooth velvety surface suits my process of repeatedly applying paint, lifting it off, texturizing, scratching and layering. It's ideal for fine line- wor and detais in nel or paint. Pus, there's no need for las inthe framing presentation. To finish the piece, | used a wax sealant, buffed toa sot uly waterpreo seen, eee etree eee aerate larger expanses require lots of paint, time and more than a little courage. A fragile, complicated relationship at odds isthe focus of Siblings (watercolor and gouache on Claybord, 38438) Wotercoler Artist | na 2014 47gi@ Masters: ea wl! REMOVES WET & DRY OIL PAINT NOVEMBER 2-22, 2014 SPRINGMAL |-watermedia O RK SH Ms=~ FEATURING CLASSES BY ‘Linda Baker “Carole Barnes Gerald Brommer * Carrie Brown Kathleen Conover « Fred Graff Alex Powers + Birgit O'Connor Dale Laitinen * Skip Lawrence Annie Morgan + Barbara Nechis Ted Nuttall + Janet Rogers Eric Wiegarde + Lian Quan Zhen Sori fy Beach ig byte Beach, South Carina (843) 315-7150 or (866) 890-5647 Artie @Sprngraidvistermedia com SPRINGMAIDWATERMEDIA COM ‘Men of the House (watercolor end gouache on paper, 30x40) showee: both present and absent-in the family The Boys (opposite; watercolor and gouache on paper, 40x30) depicts the young heirs inva three-generation home. smack in the middle, Although the Lifelines familial paintings are based on real people, events and situa- tions throughout my life, they're not meant to be portraits. In the past, I'd concentrated on technical expertise, design and composition, striving to engage the viewer on an emotional level. In Lifelines, however, the work transitioned to record one life's experience and to provide the necessary imagery into which stories can be read and people identified—whether they're mine or the viewer's. I firmly believe that my link to past generations is responsible, to a great extent, for the artist lam today. Revisiting my roots through watercolor and gouache gave me ample time for reflection, renewal and reconnection—essential outcomes of my time away from the classroom. 18 watercolarartistmaganinecom Committing Career Suicide ‘As artists, we're often told to draw from our personal experience or from the events and issues closest to our hearts; to push beyond technical per- fection; and to seek substance. We're told time and again that this is the path to significant, relevant and last- ing work. While on sabbatical, twas again reminded how true this is. But it’s not necessary, and is perhaps even unfeasible, to take a yearlong sabbatical to grow as an artist, Instead, you just have to be willing, as Santana says, to commit career suicide. So fully explore your love of painting, ensuring that you're following your passion, whether that’s painting family roots, flowers or animals. Or, perhaps your version of career suicide is experiment. ing with a new-to-you medium or entering an “out-of-reach” exhibition,Sitver Brush { new Bl travel brush, Voyage" Requested by plein air and, 5 Black Velvet comes in four sizes; 24,6 and ped sy and ur new Voyage” company tha brow tomatket Si anigue and eats brs The Brush that Closes for Travel www .silverbrush, DON'T JUST MAKE ART. TAN nS aie 4 QOR has aditional fore one Visit Ee een ras ua Se Red cad | Lee T rol Lasoo eyWet Media Dura-Lar Film by Grafix + Coated to accept water-based mediums. + Will not bead, chip or run. + Use as an artwork surface or to plan painting compositions. www.grafixarts.com eee Bndicteatite painting t subseribenow.watercolorartistmag.com. Lettre From George watercolor and gousche on bos, 40x26) ilvetratos ; E my parents’ writen corraspondence during thr 16-year courts visit watercolorartistmagazine.com for more info re ° oer ? Whatever it is, dive in and embrace it fully. While it can be both exciting and scary to veer off the path, and a big personal commitment, the outcome of such a change can bbe wondrous artistic growth that was never anticipated. ‘or even dreamed possible. @ See more of Carla O'Connor's “Lifelines series at www.artistsnetwork.com/medium/ watercoloricarla-oconnor-gallery. 20 waterclorartstmagezine.omOe 4 ‘ 4 : i ; yy A Nasi Sdi com The lowest prices on art books and DVDs Meneses nea CML olay Light products En Remember | Susan Mertague ee ato Rea ey NORTH LIGHT SHOP Your Nest Purkoset | No minimum order and no end date. Enjoy 10% off art magazines, books, DVDs, downloads, and more — enter code ARTPUB10 at check-out and save 10% off select products. PROMO CODE EXCLUSIONS AFPLY: Your speci iscourt/coupon code il alo yout ake 10% OFF many (nt al ofthe ind at NorthLightShop.com, 8B ‘VIP memberships, or items z < z From the publishers au A / A e MagazineFrom Sketirbiok The real painting journey starts with a sketch BY IAIN STEWART 22 wateroslorartstmagazine comWile reviewing @ smaller version ofthis panting, | decided that Istanbul From Pierre Loti Hill watercolor on paper 12x21) would be batter served ‘#1 axpancied the view to include more af te scene. | waited until the last few warhes to adda sot glaze and reflections to the water Watercolor Artist | June 20:4 23y wife ole sips her teas mal [\ J) sitesinde hating ih oor ares south shech im weiner sour ele pctared ort send and hi cup ees aw ne Cine to nish sketch ond shel praca Sy now hes wed othe evtn adhe wherete meet eon i enew whee my es dhech ofthe ay wil ake pce Te ting tin nd suspect shes dingeateral hat Tallny stent is he mort npr pee ote weet do: engaging ie moment Shawatchingifess ake pce hen evel Lavayemarelat the rush ingabou gong novund me Waite cous relatos rrsery win stern traringeacold supper an et aha ot icy dn thea es S00 petogpte andace athe most one tenaon Thavone vay ooeew ety and cerinipne wraytoimmereyoureliva cole Mtv Tanta in"more olen’ meaning tospend orem enjeying where am ater hen checking pnt offre gldelis. Ws sree prof understanding wher fou are When {top towort in my sketchbook, ve hin pute ut an my ay Beye veep moving tise feng par ofthat mnchne mow a tert ancora recorder When return tothe tuna tat thee sbertations con sere weer beter then ny a my photograph chwise fi Bridges are one of my favorite subjects, especialy those of New York. In The Queensboro Bridge watercolor on paper, 20x12), | wanted to play up the lacework-lke quality ofthe struts and cables. The oniy solution | could find ta do that properiy was to use masking s0 that | could apply a gradient wash ta help give the ilsion of unity to the bridge a8 whale Akbiyile Caddesi-stanbul (graphite on paper, 1x9) deplets a great street of cafés and rug shops. This is one sketch tha ve been working up the courage ‘attempt on a much larger scale Most of my work is done in one of two sittings, but let From Union Square (watercolor on paper, 16x) simmer fora fow days | liked the unfinished look of my frat attompt, out over time | reslized | wanted to continue working oni, ‘mainly solidifying the buildings and adding strength to the tee at right. Sketch Is Best ‘At some point in the last few years, my artistic output has shifted from serious studio work to taking the joy I find in sketching and keeping that alive in the studio. I honestly cannot think of a better way to create, Working in a sketch- ook is one of the best perks we artists get. A sketchbook has no other responsibility than to Watercolor artist | June 20% 25Amsterdam is such a wonderful citys! would have loved to see it by beat. Canals -Amsterdam (watereotor on paper 16x12) is how! took myself ‘on such a tour wlcariousyy, St Andrews Boatyard (oppose; watercolor on paper, 22x14) isan example of how Il use two or three sketches along with reference photos to ‘do a studio piece. The moody atmo sphere, although very Scottish Inde i actualy from a sketch ic of a wet street in Alabama iain stewart’s recommended reading on drawing in perspective + Architecture: Form, Space, and Order by Francis D.k. Ching (John Wiley & Sons, 1943) + Sketching-from Square One... to Trafalgar Squore by Richard E. Scott (Sierra Madre Press, 2013)Divan Yolu Cadessi-Istanbul (graphite on pap 1x9) depicts tha major tram line in Sultanshmet, oF the Old City of letanbl. Istanbul isan amazing city with stunning views st avery turn. Het, if looked to iy left would have clear views of the Blue Mosque and the Bosphorus i | looked behind me the Hagia Sofia was waiting ts turn for the sketchbook. It was Almost 1g0 much to take In. {In April 2013, was able to see the John Singer Sargent exhibition atthe Grooklyn Museum, created ‘The Soldiers and Sailors Memorial Arch-Brookyn (watercolor on paper, 1x8) immediately ater. The statuary onthe atch Itself s quite intucate, but my Intent a6 to use shape and tone to suggest deta rather than gat too caught up in accuracy. serve you. I's completely private unless you decide to share. Safe from the critical eye of jurors, it's a place where you can explore with abandon all of your ideas. It’s also the best tool I can think of for preparing to work in the studio, ‘To me, starting a large painting without pre- liminary sketchwork is akin to jumping out of bed at some ungodly hour and attempting to run ‘a marathon having only casually mused about jogging beforehand. Preliminary sketches are the first real dialogue between your mind and the physical reality of your ideas. When [begin a sketch, I work quickly, rarely allowing my pencil to leave the paper. often use a harder lead to complete these layout drawings before mov- ing on to something softer to add strength and solidity to my linework. I don’t concern myself with erasing the preliminary layout; Ifind these ines add depth and character to a drawing. As you add color to your sketches, the linework will bbe obscured or almost entirely lost anyway.astreetscape comes to life My studio pieces are really just more complex versions of what we see here, They require more planning and are more difficult technically, but at the heart of to be reviewed and reworked. This is what keeps me coming back for more. . they're just my sketches that have had a chance 2 Step t: Using this photograph taken In New Yotk city facing the Freedom Tower, | use an ‘overlay of tracing paper to incicate the hor 2on line, vanishing points and major shapes to bogin developing the thumbnail sketch. Step 2 After checking proportions and the ‘overall composition, 'm rescy to proceed withthe layout drawing. | work rather loosely with an HB lead peril only concentrating ‘on the major shapes end placing all the elements inthe skateh sioraretmagatina. com ‘step 3: once my layout is complete, I go back and add strength to mytinework using ‘ster lead | concentrate an using varying line widths and drawing character 36 w ‘of distance. Noto that objects inthe die- tance ae treated as silhouettes; only the foreground contains detll ‘Step 4: Atter taping down my paper. | begin ing. The frst and most att of the process is knowing Where my ight source Is and reserving my highlights by leaving areas ofthe paper untouched. begin by mixing thee very light combinations of pure cabs, burt sienna and raw sienna. | muddle some cobalt nd burnt eionna forthe toner and then, a I progress down the sheet of paper, begin to add large swaths of cool and warm tones As Inear the bottom of the sketch, ! add a ite alizarin crimson to the cabelt mi ture and deepen the burnt sienna to give the base of my painting some saliity. The‘shaded areas romain cool and the sunit ‘reas warm, | nish with a light misting of ‘lear water with an atomizer. Step 5:1 separate my mid-ground from the background along the fist action line indicated in Step | by painting throughout the U shape created by the buildings on right and let sides of the street sti careful to retain as many of my highlights a5 possible hore. Using the same motes fom the end of Step 4, carefully paint around signs and fon the sidewalk | also develop the yellow of the umbrella, ‘Wihila the wash is til wet, | drop in eress fof warm and cool hues to give the shedows warm highlights and suggest shadows for the areas in sunlight. As near the bottom ofthe image, | begin to wash in clear water ta allow the darks to fade out. Final Stop: To finish, | ete depth using mixture of utramatine biue and light re in varying strengths. ladda lite sap green with Burnt sienna te the troes ano, using the Watch a step-by-step video of lain Stewart painting this image at http://bit.ly/iain-stewart-watercolor-painting darker mixture, begin to suggest architec: tural deta ree branches, shadows on the umbrella and figures. When this is baroly rj, add pops of eoier ctecty from the tube to strengthen some of my figures and signage | move my brush rather quickly ‘while I fairy dry to make these marks. ake sure to take a few stops away ‘om the image 50 can see how its working, It's very easy to everdo this step. When fm tateted withthe result, I stop. Once the image is dry, may use clacr water to scrub aut some highlights or use white gouache to recover highlights that have been lost After 2 quick spatteting ofthe dark mixture for tox: ‘ure, LES tothe Freedom Tower (watercolor ‘on paper, 17s) I Anished Watercolor Artist | June 204 29My sketchwork informs how I approach everything in the studio. Because I'm able to use my reference photos merely as sugges: tions, I often change my composition around and reorganize a scene to suit what I'd like to say about it. When I return to my studio after sketching on site, I'l spend hours sorting through pictures and sketches before begin: ning to settle on a few ideas. | usually have a few different images in my head, and often it takes a few minutes doing thumbnails to settle on the one 'll move forward with. Suggest, Don’t State It’s important to understand the way I treat architectural detail. As long as I've located my horizon line and work from established vanish- ing points, only need a suggestion of detail (see To the Heiligeweg [Holy Way]-Amsterdam, opposite). In this type of painting, a good rule of thumb is ‘suggest, don't state." If the bones of the work are Grace Church Sketch-NYC (abovei watercolor on paper, 1x9) is a delightful scene, but | could tell that compress ing the view and focusing on the church tse as @ more studied studio pce might better sut my goals. Overal ts tal work is very similar to that nthe nal piace (tlt Grace Church-NYC (watercolor on paper, 26x10} was my frat work accepted into the American Watercolor Society in 2013. When looking atthe sketch above, You can see a few obvious majar changes tothe overall Composition. My hope was that by accentuating the vertical, the focus would become the church itself rather than 3 typical street scene(on a 2018 painting trp to Los Angeles, ! found myself at this spot on the Venice bosrawak racing the setting ‘sun to complete Venice Beardwalk-LA (graphite on paper, 1X9). This is what eoally love about working Ina sketchbook. Not only do | ramombor doing the crawing, but remember the chil ofthe air, the bustle ofthe musicians as they packed their vans, and one ofthe most delightful italian meals just up the comer from here. | paintod To the Heligeweg (Holy Way)-Amsterdam (at right: watercolor on paper, 4x10) n the studio after returning from Amsterdam. My goal here wasto let 99 ofthe “studio” mentality end focus on painting with the same expression a8 Ido onsite, Let go of the idea that you paint to a line—a line is only a suggestion and one you can certainly ignore. right, then you can add or subtract detail as you see fit. try to use only enough detail so that an object is recognizable but not completely under- stood; the tops of car roofs with a windshield and headlights, figures’ heads and shoulders, and signage and street lamps should be treated in a way that makes them understandable but only enough to add character to the scene. Unnecessary detail removes the very thing that makes me want to take a second and third look ata painting: a sense of mystery. Arches, colonnades and hundreds of win- dows all can be suggested on buildings with just a few strokes of either a pencil or brush, ‘This is the only trick I employ, and the only tricky bit about it is trusting that shape and edge are more powerful visual indicators than detail. It's also extremely important to under- stand that the drawing should serve only as 1 placeholder. Your painting shouldn't be held back by misjudged lines; paint over or through them if that's what the painting needs. Let go of the idea that you paint to a line—a line is only ‘a suggestion and one you can certainly ignore. often say I draw a scene twice, once with a pencil and then the second “true” drawing with brush, Don't let anything you do early in your process limit what decisions you make later in your painting, Be willing to change anything, ‘but remember your game plan, I consider my sketches to be some of my best work, and the joy I take in creating them is truly why I paint. A good sketch can spawn. an idea that takes you months to fully realize, and that journey is what artis all about. When. step back from one of my larger studio pieces and can still see and feel that energy from my initial sketch (see Grace Chureh—NYC and its sketch, opposite), I know I'm on to something. Either that, or I've had too much coffee, @emilee) ers yh ~ LnChica Brunsvold Gifts that enrich our lives and soothe our spirits, flowers are a wonder of life—infinite in color, shape and texture, To capture the essence of flowers in a painting, it's important to convey a sense of softness and a lively rhythm. In my florals, I create softness with either watercolors, which are particularly well suited to the effect, oF acrylics used as if they're watercolors, with watery paint and a wet-into-wet technique. Brought up in the era of Abstract Express. Tonism, I begin my paintings non-objectively, inpaepayananat a —Claude Monet —P.G, Wodehouse without live or photographic references. I just start applying color, splashing it around and creating textures, allowing the paint to run. Lively, rhythmic forms and strokes appear automatically in the formative stages of my process, As I work, however, I'm always on the lookout for images to appear. Frequently, Iperceive flowers in my original splashings, oI guide the composition in that direction. ‘That doesn't mean, however, that | stop searching for interesting images. As I study the painting in progress from all angles—from 34 watercolerartstmagenine comacross the room, in a mirror, in the half dark and without my glasses—animel forms also may appear. If you're familiar with my Zovilogicals® series, then you know that Love to incorporate animal shapes into my paint ings or even let them take over the works entirely, Discovery and development are the exciting parts of painting for me. Ilove this process 50 much I'm sometimes sorry when the painting is finished. painted Night Blooms II (on the previous pages) with watercolor on YUPO, a great com- bination that allows me to achieve textures easily as well as wipe off and reapply color to my heart's content. In this piece, I created the white flower shapes by lifting the paint with a wet tissue. In terms of working with this, surface, my greatest breakthrough came with, ‘change in attitude. I've learned to relax and go with the flow rather than try to impose my ideas on the painting. Recognizing that the painting can paint itself better than I can has lifted a tremendous burden from me, Now 1 simply enjoy the process instead of worrying about the end product. For both Celebration Ill (above) and Exuberance (opposite), lused acrylic on Strathmore Aquarius 1, which had been coated with gloss medium, ‘The resulting surface is much like YUPO, but with acrylics, rubbing aleohol must be used for lifting color. In these pieces, the white flowers were painted rather than wiped off. ‘Night Blooms tt (on provieus pages; wotercolor ‘on YUPO, 21130), exuberance (opposite; erie ‘on paper coated with glose medium, 28120) Celebration it Gerylc on paper coated with gloss ‘medium, 22420) Watercolor artist | June 204 95Exalting the Everyday Lynne Railsback Tive on the shores of beautiful Geneva Lake in Wisconsin, Frequent walks around the 2i-mile perimeter yield a regular source of native plants to use as painting subjects. I prefer dried specimens, with al their wrinicles; fresh plants just don't have as much character. Since T don’t work from photographs, this solves the practical matter of painting flowers—which are {in continual change—from life, but Ialeo enjoy the reactions of people who say they never realized how beautiful the plants they see in late fall and winter actually are My preliminary work consists simply of mounting my specimen on a board. I majored in graphic design and then enjoyed a career as a commercial designer, mainly working for architectural companies. The sharp, linear design work I'm accustomed to serves me well Enjoy more fine florals in our exclusive online Squaw Root Conopholis “Americana (watercolor on deer vellum, 7x01) (opposite; water: ‘color on bristol board, 13x10) gallery at www.artistsnetwork.com/medium/ watercolor/flowers-gallery. vetorcoeratismegasine com for painting botanicals. Without any prelimi nary sketches or pencil drawings, 1 apply color washes on my watercolor paper to suggest the initial composition and then develop one area at a time with drybrush. By sticking toa limited palette—burnt umber, viridian, aureo- lin, French ultramarine blue and permanent rose—I keep things simple and achieve the ‘most natural look for my florals. I finish the piece by lifting out color with a damp brush, forming fine lines. ‘The best paintings are the ones that just flow. Some botanical artists use oil, pastel or colored pencil, but watercolor works best for ‘me. Working on Strathmore 500 Series plate- finish 3-ply bristol board with Jack Richeson 9000 Series synthetic brushes, I add and lift off color to create the effect I want. don't have a green thumb myself, but Telieve that no matter what you paint, the important thing is to have a connection with your subject. For me, i's the wildflowers that often go unnoticed by others.drybrush for a dried bloom 3 Stop 1:1 mix my colors from a limited No.2 brush. don't use permanent rose Step 4: carry on adding, manipulating palette of Winsor & Newton paints: vie inthe inal washes as i’ staining. and remouing the paint, Highlights are fan, Fronch ultramarine bide, aureiin, Step 211 add color to the pad and the _cTeated In tha way, as | never use white burnt umber end permanent rose. | then z ‘or masking fu, loosely ly in the composition with ight bBens representing cried blooms. " 3h ‘Step 3:1 remove color with a damp Step 5: continue te work all around Ficheson 9000 Series No, 000 brush the painting until it seems thero'snething tocteate minute lines. ‘mare | can do to improve the piece, Watercolor Artist | une 2014 97Marlin Rotach For years I traveled the tropics to scuba dive, After my initial trip to Hawaii, I painted my first floral, which, incidentally, was my first piece accepted into a National Watercolor Society exhibition. I knew I was on to something good. For me, exaggerated qualities of light and transparent, brilliant veils of color are the keys to painting flowers. Typically, I stick to stain: ing pigments, which never go muddy, even when I glaze as many as four layers. My biggest breakthrough, however, came when I reversed ‘my approach to painting values. Iwas taught that in watercolor you start light and end dark, but Iw: 3s looking for a crisper, more dramatic look in my work. When I came across some turn-of-the-century hand-t which color was nted postcards, for from dark to light to the black-and-white cards, | was i spited to change course. Now, Istart with my darkest values and gradually work in gradient color to my lights, Teaving the pure whites as untouched paper To create definitive spatial effects in my florals, I use both soft and hard edges. In watercolor t of wet is is done through applications to-wet (for soft edges) and drybrush(for hard edges), Alternating between these applications, I create “rabbit holes,” for lack of a better term, in the composition. For example, in Contemplation (opposite), you not only see the lil ies on the surface, but also the illusion of what's going on under the water. In Imp's Glow (above), the mysterious darks break through the surface plane and create a more dimensional painting Imp’s Glow (watercolor on paper, 3:30) ‘Contemplation (opposite: water: color on paper, Iris Murdoch Scale is also an important consideration, For me, artwork on a grand scale takes the viewer to another level—no longer looking into a painting, but living in an environment, tf the artist has been successful, the viewer begins to see the subject in a completely new way. @ KELLY KANE 7 ‘watercolor Artist | yune 204 99hia as fo he its joe aTO PAINT PEN relies on drawing as the foundation for the bold color and strong shapes of his NTE Ncakere) Lm ol or) Loe “4 Nac tolaaro)twas an unseasonably warm day in London when I met up with Peter Quinn. He had several paintings featured in a Royal Watercolour Society exhibition at the Bankside Gallery, and after viewing them, we walked a short distance along the south side of the ‘Thames, found an empty bench outside the ‘ate Modern, and began a serious discussion about his work. Drawing Conclusions But we can't talk about painting before we first address drawing, The Seottish-born Quinn says i's a fundamental part of his painting, and something he greatly enjoys. He takes a sketchbook with him on all of his painting trips, filling them with lively, inear-style drawings in waterproof ink. These days, he takes a water color box, too, to add brief color notes, and he backs up his sketches with photographs. IFT were sitting here with a sketchbook now.” he says, looking around, “Td probably be sketching figures rather than buildings. Toften put people in my pictures, perhaps because the composition requires that sense vetorcoerartismegasine com of movement, or because I want to introduce a story or provide a focal point “But I need those figures to be ‘of today,’ not dummy images," Quinn says. “I enjoy capturing the gestures of real people—how they carry an umbrella or their shopping bags. I was sketching in Florence recently and made a drawing that really pleased me of man who clearly loved books, running his fingers along the spines of the volumes on display at a book stall. Or, again, Iwas in Florence and found myself drawing the crowds of tourists, with some looking anxious and others nonchalant, and everybody photo: graphing everything, which seems to be what travel is about these days. For the most part, though, Quinn's paint- ings are townscapes that reflect his love of both beld color and strong shapes. He picks up on little vignettes that have amused hhim in the street, such as the black dog and birdcages in Dog on Balcony, Marsaxlokk (on page 45) or the stack of bicycles outside Tokyo Café, Amsterdam (opposite). His style reminds me of another British watercolorist, John Piper (1903-1992). Quinnwatercolor on pape,‘Ouinn has focused onthe nesrabstract pattern ofthe many rectangular shapes In Fahrenheit 451, Rome (watercolor lon paper, 19x25) Wandering sround 2 strange town often produces unusual, even auithy, sub jects for Quina Dog on Balcony, Marsaxiokie (oppo site; watercolor on surface, 49134) surrouncied as it Is with caged birds, ina Maltese fishing villa Quinn has found subjects for paintings not just in the United Kingdom and Malta, which he visits regularly, but in italy, Holland, Spain, Germany, Canada, India and more. Name a country, and he most likely has its stamp in his passport. “L enjoy traveling and going to places | know I'l find interesting,” he says, “But | actually prefer not to know too much in advance from guidebooks or the Internet. 'd rather go off and get lost. That way, | come across little gems, That doesn't mean | avoid places like Venice— was there not long ago. Of course, there are the well-trodden tourist paths, but Venice is a city that lends itself to wandering off, and it's a case of trying to free yourself and find something fresh. Exploration and discovery are very much part of art.” See agrees, but points out that he himself has very catholic tastes. At college he was inter- ested in the German Expressionists, such as ‘Max Beckmann (1884-1950) and George Grosz (1893-1958), and their influence still shows in his drawing style and use of graphic marks. Yet Quinn also was awarded a Ph.D. for his research into the Victorian artists working in Northeast England—and recently exhibited a painting of Pilgrim Street in Newcastle-upon-Tyne (on page 40), wher gious Sunday Times Watercolour Competition exhibition, While retaining his modern style, e he now lives, in the presti he deliberately chose the scene and scale of that urope through Peter Quinn’s landscapes at www.artistsnetwork.com/medium/watercolor/ 464 wotercolerartatmagen peter-quinn-landscape-gallery. painting to reflect what a Victorian watercolorist ‘might have executed, Adding Color and Texture *T suppose I started concentrating on watercolor because it allowed me a freedom I thought Iwas lacking with oils," Quinn says, “used to like the idea that I could cut out abit of a paint. ing that liked and scrap the rest, although 1 don't do that anymore. Also, used tobe pretty careless about defining the outer edges of my paintings, but then I got frustrated with what, happened during framing. Now I always have a ruled edge so Tknow where the painting fin ishes, and that's part ofthe routine of starting anew picture.” He works on Saunders Waterford rough surfaced paper, which he buys by both the sheetorcs in cases tT} Peas yand the roll, soaking and stretching it before starting to paint, There may be an intermediate study between sketch and final painting, but either way, before reaching for his paints, he makes a fairly detailed underdrawing in pencil, carefully planning the final image. “m hopeless at both measuring and scaling up, although I do try,” Quinn confesses. “Because of that, my working process involves regular redrawing, and redrawing again, as the picture builds up. It’s the business of trying to make sense in color terms of the original black- and-white sketch, On many of the completed paintings, edges or details are defined with fine lines that might look like drawing with Ink but, in fact, are black or sepia paint applied with a fine brush. “Y'm not an artist who starts in the top corner and works down,” he says. “Nor do I necessar- ily follow the watercolor rule of painting all the lights before the darks, The habit I've kept from. my oil painting days is to develop the picture as a whole, adjusting tones and colors as I go along.” He has a large collection of Winsor & Newton and Schmincke paints, and sorts them in boxes by color rather than brand. ‘When developing a painting, Quinn employs ‘a wide range of techniques, including the use of mediums such as gum arabic; painting an area red when he knows he'll be putting a wash of its complement, green, on top; or adding color to ‘an area when he knows he'll immediately dab ‘most ofit off again. The sky is an important ele- ‘ment in many of his works. To put some life into what otherwise might be a flat area, Quinn often paints abstract shapes and marks underneath, ‘These techniques, the artist emphasizes, are selected based on the effect he's trying to achieve at a particular moment to add texture and vibrancy to his paintings. He tries to avoid using any of them purely as a matter of habit. Embracing the Challenges ‘And what of mistakes? “In the old days, ! would have cut off any area that was ‘wrong;” Quinn says. "But, in fact, lots of so-called errors are easily removed. After all, what's a mistake? ‘These days, if think I've done something wrong, I put the painting away and go back to it later rather than binningit. Itcan be a case of coming to terms with something that may not be quite what was intended, but is perfectly OK" Quinn admires artists who can find elegant solutions to painting challenges. His own solu tions often reveal how he has thought about and worked his way through them. That's one of the things he likes about watercolor. An example is his experience of painting views of Malta, a Mediterranean island he knows well because his wife has family there. “The first time I visited in the summer, had no idea how to deal with the immensely strong light, the bright colors and the way shadows were affected by the overhead sun,” he says. “It took ‘me several more visits to work these things out “But these challenges are all part of the fun, enjoy creating my paintings, and the reason 1do them is simply that I'm trying to produce the kind of works lenjoy looking at.” @ KEN GOFTON is an arts wi in southpower ps) } | | a2 yi \ i) LIN \ y Stan Miller uses watercolor and egg tempera to explore the variety and complexity of the visual world. BY JOHN A. PARKS.tan Miller has an eye that’s equally sxplosive drama and the quietest subtleties. In his watercolor egg tempera paintings, he combines the jement of powerful light sour ing highlights with passages of closely keyed lor that's exquisitely judged. Supported by sure draftsmanship and sophisticated handl: of form, Miller's paintings project a sense of larity and comprehension while le viewer room for n us into the personality and state of mind of the model. The landscape compositions, for all riptive detail, still lead the graphic reference, and the artist is quite forthright approach, teachers say, there's with working from photos,” he says. "Photos contrary nothing wroare an excellent shortcut, especially for those who don't have the time to learn how to paint strictly from still life, while on location or from live models.” There ate, however, some poten- tial problems, he admits. “One does need to understand lens distortion, the way the camera can skew the true perspective,” Miller says. He also observes that photographic color tends to be somewhat inaccurate. In general, though, he believes that the advantages of using photographie reference are considerable. “One of the good things about the photograph, for those who are beginners, is that In Venice Calm (on previous ages: water ‘olor on paper, 1422), the color is activates in the sheciows by alternating cool biuo-greens with warmer beiges ‘The thoughtful ‘expression of the sitter in Apri Grace (watercolor ‘on paper, 13) is reinforced with subtle but active color particularly In the shadows Millar caret to vary the hard ness of edges throughout, Miller exaggerates the color some wat to creste an ‘veal jowelike richness in The Young Sadnezs (opposite: water ‘color on bristol board, 1039) it simplifies the subject,” he says. “The values and color are greatly exaggerated, and the avail: ability of a variety of subjects is wonderful, On the other hand, photos can be addictive. An artist should know how to use photos and how to paint from life—and should understand the difference between the two.” In fact, about 20 percent of Miller's work is done from life. When he uses photography, he often edits considerably, moving, adding or eliminating objects, Using photographs as reference requires the painter to pay close attention to his photo- graphic practice, Miller says. “When taking Watercolor Aitist | June 2014A soft raking after. noon light creates a conse of romence ‘and wietfuness| in September Shadows (eo tempera on paper. 2x38) The close colors are tones of the facade featured ln Venice Window Flowers (opposite: watercolor on paper, 106) are pitchad against the biliary saturated reds of the geraniums. it's another example of, Mler's prowess of combining crams with subtlety 52 woteoslratstmag a photo, Ifirst need to make sure that I'm selective, thoughtful, that I deeply care for the subject, that I'm moved by it and that can relate ta it.” He recommends an approach in which the artist photographs subjects that he finds intriguing, but refrains from photograph- ing everything that he might find even remotely interesting. “With digital photos you can end up with thousands of images,” he says. “It's overwhelming and extremely difficult to wade though hundreds of photos trying to choose which one would make a good painting. I take very few photos, but nearly every photo I take has possibilities of becoming a painting ‘The success of this approach depends on the level of thought and care that the artist brings te each photograph. "I pay special attention to the light, its angle ang its feeling,” says Miller. "Morning and evening light are much more emotional and romantic than noon light.” The artist also pays considerable attention to compo: sition. "The biggest mistake most photographers make is overemphasizing the main point of inter- est,” he says. "I ask myself: What stories, series of events, shapes and colors comprise themselves within this rectangular space? Like actors on aa stage or members in an orchestra, we need to be keenly aware of how everything interacts.” Media Flexibility Having selected a photograph from which to work, Miller’s next task is to transfer the image to his paper. He does this through a variety of ‘methods, projecting all or part of the picture, moving other elements around by hand or simply by drawing the image freehand. His technique depends on the nature of the subject, as well as his ambitions for the work itself.Once he’s transferred the image, Miller faces another choice: whether to work in watercolor or egg tempera. “Egg tempera, at least the way 1 use it, isa bit more like oil painting,” he says. “It's great for serious, dark, textured subjects, and yet it has a depth, a transparency, to it. I's finicky and tricky to handle, and I like that." The artist observes that in watercolor, really dark passages can bbe somewhat less than exciting, and the paint can get a litte flat in appearance. “In egg tempera, one can achieve loads of depth and subtlety,” he says. “It's also somewhat mys- terious, and people are never quite sure what they're looking at.” On the other hand, Miller finds watercolor ideal for painting from life, either from the model or en plein air. Miller’s watercolor technique is marked by a flexibility in approach. “Every painting toolkit + Brushes: a variety—including a large t-inch flat brush in synthetic and one very high-quality brush: a No. 6 Winsor ‘& Newton Series 7 red sable round. “It's a great brush for extremely detailed passages," Miller says Paint: high-quality watercolors by M. Graham, Winsor & Newton, Daniel Smith and Holbein. The artist says, “Avoid really cheap watercolor paint, as it often contains fillers, ‘and the color isn't intense.” + Paper: Arches and Fabriano in both hot- and cold-pressed, 140-Ib. for smaller paintings and 300-Ib. for large paintings. Explore more of Stan Miller's world at Watercolor Artist | June 204 58lessons learned Miller is very much opposed to adopting recipes for painting, but he does advocate the following broad method for making good art: + Learn how to draw—hopefully how to draw really well Drawing teaches you how to truly see the world. Learn values. Learn to see the values behind the colors before adding color. Learn color, but first use just red, yellow and blue. “Learn to get as many colors as you can using these three before you start chasing perfect, exact color,” Miller says, Learn how to paint from a black-and-white photo with colors from your imagination, making sure the colors you use match the photo's value structure. + Learn composition and design. “Design is much more important than color and technique,” he says. “The greatest compliment a painter can receive Is, love the whole painting. We don't want to hear, l especially like this part! Paint a subject that has feeling and mood, a subject you know and understand, a subject that moves you. 54 watercolorartstmagazine.com In Nick's Gaze (watercolor on paper, 16x20), the artist, takes on the brilliance of overexposed highights, leaving large sections of white in the besra and forehead. Ido has a slightly different procedure,” he says. He has no set process when it comes to decid- ing whether to work from light to dark or vice versa, or whether to do a complete pencil draw. ing first. “I use the approach that think might ‘work best for the conditions of the moment. No rules, anything goes. | do whatever [have to do to make the painting work, Miller isn't a purist when it comes to using only transparent watercolor. “John Singer Sargent [1856-1925], Andrew Wyeth [1917-2009] and Winslow Homer [1836-1910]—the greatest American watercolorists—used transparent, semiopaque, opaque, white—whatever they jed to use to capture the truth of the moment," says Miller, “They scratched, scraped, ripped, glued, and used mixed media ‘and dirt, They smeared paint with their hands and occasionally used their fingernails. They did whatever the subject called for to bring the painting together, to capture the essence, the emotion, the spirit of the moment.” wanted and ne‘The artist takes a similarly open view in his egg tempera technique. "I always use egg yolk and water, and I usually use dry pigment and some watercolor,” he says. "Other than that, Ihave no repeatable system.” He adds that, in general, he warns students to avoid recipes in painting (see “Lessons Learned” opposite). they do serve a purpose, but they're often very misleading," he says. The Results Are In ‘The results of Miller's approach are evident in Venice Calm (on pages 48 and 49), a richly painted view of a canal in which a brilliant sky is reflected on the water while the shadowy sides of the buildings and boats are rendered with painstaking subtlety. A look at the color in the shadows reveals the artist assiduously amassing warm-to-cool movements in the color, trading cool turquoises against warmer browns, and violets against yellows. In the lights, the artist builds considerable variation within small areas, The beige and ochre build ing exteriors on the left are established with 15 or 20 different variants, Built with thousands of tiny dabs, strokes and dashes, the painting takes on a density and depth that's highly sat- isfying, Remarkably, all of the color is invented; the painting was done using a black-and-white photo as reference. A similar combination of precision and suggestion is at work in September Shadows (on page 52), where once again the composition is dominated by an open, contained space in Venice Waterway (above, left; watercolor on paper, 1519) Is an eesay in color contol, Note how the biue coloration of the boat interior ie slightly more saturated than any other bluo inthe painting The intensity ofa dabbing oF tipping technique Is evident in Venice Evening Light (above, right egg tempara and watercolor on paper, 29x22), particularly in the background, 2s Miller builds multiple layas of color with small touches of pintcreating a sense ‘of brillant ight In Charles (e99 tempera on pane 26x36), the artist ful to aasert the saturated red oranges on the tip the nose and the knotted folds of the brow. ‘The Future of Cchartes (opposite; waterealor on paper, ex8%) empha sizes the drama of the ght by rein forcing it withthe eatrical viewpoint of heroic rove its center. The drama of the dark tree trunks and branches against the almost white sky is pitched against the quiet, shadowy light that suffuses the rest of the painting. The luxuri ous texture of the nearby foliage gives way to ‘2 more airy, mysterious quality in the distant fields and trees Miller's portraits are necessarily more focused on a single object—the human head, But even here he allows for a combination of the defined with the suggestive. In ch {above}, for instance, a brilliant white light strikes the forehead of the subject to create a dramatic sense of form on one side of the head. Knitted brow, wrinkled skin and almost every hair are all fully visible and accounted for. But on the shadow side, a much more mysterious world is on view as forms seem to shift and shimmer in darkness. This dichotomy of expe rience is reinforced by the sitter’s posture and gaze. He seems to sit firmly, and yet the pose is. \tercolerartistmagasine com just slightly slumped. The gaze is turned down- ward as though merely passive or thoughtful, and yet there's a fixedness and intensity to it The painting gives us a human moment of great depth where the sitter displays both strength and weakness and projects a sense of both resignation and resolve Inspiration and Truth Miller's love of watercolor developed while he was a student at Spokane Falls Community College, in Spokane, Washington. Soon after graduating, he determined that he'd sup: port himself as an artist and began to make a living by selling paintings at small local venues. "I sold half-sheet framed watercolors for $50, bothering many of the other artists who considered my prices too low,” he recalls. As a result of Miller working six days a week, the quality of his work continued to improve, and he gradually raised his prices. Forty yearslater, he’s still in business—only now with a considerable reputation, Over his long career, Miller has come under a number of influences, the first being his older brother, Greg, whom Miller watched draw as fa young bey. Eventually, Miller moved on to the masters for additional artistic inspiration. “Michelangelo, for me, was God," he recalls. “Da Vinci, Rembrandt—all of these classic artists— deeply impressed me when I was young, Comic book art also excited and amazed me.” Today, Miller has added other gods to his pantheon. :ndrew Wyeth has probably impacted me more than any other artist,” he says, "Because of hhim, I got into egg tempera, Wyeth’s handling of light, his powerful design, his ability to be contemporary and classic at the same time amazed me and still does.” Miller also cites Homer, Sargent, Edward Hopper (American, 1882-1967) and Edgar Degas (French, 1834-1917) as influences, as, well as a number of modern artists, including Henry Moore (British, 1898-1986), Franz Kline merican, 1910-1962) and Georgia O'Keeffe (American, 1887-1986), ‘Asked how he'd like viewers to respond to his work, Miller says, “I'd like them to have the same reaction that they might have when they ook at my life and what I stand for. Do they see love, peacefulness, kindness, thoughtfulness and integrity? Specifically, in my paintings, do they see beauty, a unique perspective or view. point, and a calm, contemplative quality? Most importantly, do they see truth—the truth of this amazing world, the truth of who we are or at least an aspect of who we are?” @ JOHN A. PARKS: Cnwatenmedia Shewease The award winners in this exciting competition will be published, along with the honorable mentions’ names, in the April 2015 issue of Watercolor Artist. WOME 80570 Shou: Nigam 81000 Vien 20) Mece: ee: $500 / 3rd, Lace: $250 bth Place: $100 Onions in the Market (watercolor on paper, 18%26) by Laurin McCracken EARLY-BIRD DEADLINE: JULY 1, 2014 | TO ENTER, VISIT om/wate he compet open to but the primary medium must be » guidelines and to enter online, visit world. All w ist be original, Mixed-media entries are accepted dia, There is no limit to the number of entries you may submit. For additional tistsnetwork, com/watermediashowcase.ro > ~ — Painting Plumeria BY KATHLEEN ALEXANDER On Arrival lot has changed in my life since Watercolor _and business in the San Francisco Bay Area and Artist featured my artwork in the April 2010 __ moved to Maui for six months of the year. issue. By the end of that year, my husband and I since then, I've been painting full time and had taken a leap of faith. We had sold ourhome have seen my work become heavily influenced ‘Sun Salutation paper, 20%3) was the Mist in a sores of four large Paintings done for ‘environment and the sense of well-being Ive ‘experienced hereby my Hawaiian surroundings. My paintings are saturated with color, detail and tropical flowers. Follow along as I share my process for creating Arrival, the first floral painting | did after relocating to Maui, ‘Adapting a Reference Photo Talways work from photo references for ny watercolors. Not every photo is fodder for a good painting, however, so1've learned how to be creative in manipulating images to con struct a strong composition. I used to do this by cutting and pasting photos, but now I use computer software to perform the task The photo composition (right) had potential, but I felt that it needed another lower on the far left, as well as cropping, Using Adobe Photoshop, rotated the photo on the screen until the row toolkit + Paint: Daniel Smith: aureolin, carbazole violet, new gamboge, perylene maroon, quinacridone gold quinacridone magenta; Winsor & Newton: cobalt blue, indigo, permanent rose, permanent sap green + Surface: Fabriano 300-Ib. cold-pressed paper * Brushes: round, Nos. 6 to 12 Misc.: Adobe Photoshop, pencil ( 8 la 1b By cropping and rotating the original photo), and copy Ing and placing floral elements (is and tb), ereated my paintingof flowers was almost horizontal. I then selected ‘and copied the flower at the bottom of the photo (1a) and pasted it in the upper left of the row of flowers, I used this same process to add a bud (1b) to the bottom right section. I then selected ‘a narrow horizontal section of the photo and cropped it (ic). L would fill in the missing areas of the rectangle at the painting stage. Establishing Shadow Shapes began my painting with a line drawing traced from a full-scale printout of the photo outline. I then painted the shadow shapes using carbazole violet and cobalt blue. Both of these paints are cool in color temperature, which helped to create shadow effects later in the painting process. Keeping in mind the local color, which in this case would be yellow, Iused carbazole violet as the underpainting in the center of the flowers. [transitioned the shadow shapes to cobalt blue as I moved to the outer edges of the petals. ! selected this blue because the local colors of the petals were pink and magenta, I varied the color within the shadow shapes to increase interest and contrast within the petals and to make them appear more dimensional. Adding Local Color to the Petals After painting all of the petals’ shadow shapes, used local color—aureclin, permanent rose, quinacridone magenta, new gamboge and quinacridone gold—on the petals themselves. atercolor ArtistTo begin, I pre-loaded brushes with the paints. Next, l wet one petal completely, ensur- ing that my clear water wash reached to the edges of the petal. I looked diagonally at the sheen of the water on the petal to ensure that Thadn't missed any areas. Next, I applied permanent rose, working quickly while the petal was still wet. I used the clear water brush to push the permanent rose to the edge of the petal. I then tipped the paper to smooth out my brushstrokes, making them disappear. Irepeated this process for each petal. (Once the permanent rose was dry, I rewet each petal with clear water and then applied aureolin, new gamboge and quinacridone gold from the center out in the yellow sections of the petals. ignored the shadow shapes and painted over them wherever the local color ‘was in the yellow family. I tipped the paper to smooth the gradated wash. Darkening the Shadow Shapes ‘After all of the yellow areas were painted and had dried, I moved back into the shadow shapes and darkened them with quinacridone gold and quinacridone magenta, wetting just the shadow shapes first with clear water. Some of the darker shadow shapes also received my triad gray—a mixture of aureotin, cobalt blue and permanent rose. watercolerartitmagssine.com Underpainting Buds and Leaves Once the petals were completed, I paint. ed the buds and leaves. used carbazole violet to underpaint the shadow shapes in the buds, The veins in the leaves were under painted with indigo, as were the loose darks in the background.Glazing the Buds and Leaves 1 glazed over the buds with permanent rose and perylene maroon. Finally, I glazed over the leaves with permanent sap green. @ KATHLEEN colorful and exotically fragrant plumeria weicome with my husbandBev Jozwiak, aws, nws| BY Painting Life With Life In Watercolor 164 pages that explain ow Bev Produces her masterfl eee autographed copy today sovesesant Pyralervine \Nita’s 3day Workshop on 3DVDs| See demo: sewn: ChrisUnwin.net- $100 [Call 248-624-4902 wo onder or use PayPal or Visa NEW watercolor gook sy RATINDRA DAS awscop.nws WATERCOLOR Hardbound 11°x11" coffee table format with instructions and images. Available from wwvw.RatindraDas.net ‘SAS plus S+H Watercolor Workshops March 5-7, Grand Junction, CO May 27-30, Chicago Botanic Garden, IL ‘June 12-14, Janesville, WI June 26-28, Acadia, CA ‘June 30-July 2, Orange, CA ‘August 22-24, Palatine, IL Sept. 12-14, Geneva Lake, Ont, Canada Sept. 15-16, Lemonwille, Ont, Canada Sept 30-Oct.3, Reedsburg, WI www.RatindraDas.net 64 watercolorartstmagenine com Nord tela) Lt ae Register ey ids! Idyllwild ARTS Perenaeeaes ners Internationally Acclaimed Artist Instructors Northeast Art Workshops .com Montreal, Canada - July 13-20 Berard, ME - Oct 6-10 Charleston, SC - Sept 12-14 Charleston, SC - Apr 10-12, 2015 Venice, italy -May 2-10, 2015 rcenennts Ronco SR ori Wed Dns em Handmade BRASS Watercolor Palette Box houseofhoffman.com Ie ated PAT w OCC eo aa Asi aay Aree Rees Nc reo em DES urn Sea cs es 80 Tay Pe ‘wwwwatermillnet a The ob eWatermill “Our best holiday ever!” "We offer stimulating, for-iled courses with acclaimed tutors based ina beautiful setting in unspoil Italy parr rr Seiererss Pittsburgh Watercolor Society presents its 68th Annual International ‘Aqueous Open Exhibition, October 2014. “Juror: Dona Zagota, nationally recognized At, Teacher & Ju $4,000 cash avards Entry deadline is July 10, 2014. ‘Workshop Sept. 29th-Oct. 3rd. Prospectus and workshop noliment avaible at www. pittsburghwatercolorsociety.com Contact Samira Shaheen 412-731-0606, sgirimilashotmail.comCall for Entries DEADLINE: MAY 12, 2014 ‘OR DEADLINE: MAY 26, 2014 4st Rocky Mountain National Watermedia Exhibition. Exhibition: September 12 (October 26, 2014 Juror Linda A. Doll, AWS, NWS. CD ce May 12; Online due May 26. Awards $10,000» Prospectus: hipfoothlsertcentororaitacieal for entries, Online entry: http: inyurcom/nez7a96. Contact Backy Guy, 303/279-3022, ot. 30, or exhbitionsfeothilearteenterorg DEADLINE: JUNE 2, 2014 Call for Art The ‘St Augustine Art Aesacation presents the [th Annual Nature & Wilda Exhibition, July 26 -August 3, 2014. This fir ar juried ‘oxhibitfoatures 20 & 30 orginal works of art epictng the beauty and diversity of nature, including landseapes, plants, birds, wie, ete All media: No gielees. $5,000 in anarcs; ‘52.000 top prize. Digital Images due June 2 Contact 908/824-2310, Download prospectus ‘andlor apply online www staaa oro DEADLINE: JUNE 4, 2014 ‘The Alaska Watercolor Society welcomes entries of watercolor and water media, paintings on natural or synthetic paper to our 440th annual Exhibition. Entry of images cue {14/2014 Juror: Mark Mehaffey. Over $4,000 in cashimerchandlse prizes, Detalls st vwwrwakws.org DEADLINE: JUNE 15, 2014 Philadelphia Water Color Society 14th International Anniversary Exhibition of Works ‘on Paper at The Community Arts Center, 4 Plush mil Rd, Walingtord, Pa 19086, Show Dates: September 14» October 17,2014. For prospectus download from purcsociety.org ‘Website in larch 2014, or aand SASE to PMCS Enties, 3 Brandywine Dr, Mel, PA 19083. Zn. Includes pastel, water meds, ‘rawings, hand plod prints. Members S15, Non-Members $5. Juror of Selection: Unda Baker, AWS, NWS, Juror of Awards: Antonio, Masi, AWS. Prizes over $5,000. DEADLINE: JUNE 18, 2014 Roswell, New Mexico: Roswell Fine Arts League/NM miniature Arts Society ist [Annis Juried act Show ancl Competition, ‘August 1124, 2018 at the Roswell Museum and [al Center. Open to artiste fom a 60 states land all AFAL members, 2.0 and 3D. Standard/Miriature. All mediums. For Prospectus and entey form, sand SASE to FrALINUMAS, Box 2828, Roswell, NV 88202, al 75/622 4966, dawnload trom ‘wise rfl org or ama jotuek2@eableone.net DEADLINE: JUNE 20, 2014 ‘rd Square Foot Exhibit, August $-29, 2014 Oil, watercoior,acrli, of mired media CGanvases supplied by BAGA registration Registration & Entry Fee: $20 for entry, $25 for 2entros. Prospectus online at www bismarck-arterg or contact BAGA at 701/223-5986. DEADLINE: JUNE 30, 2014 Kentucky Watercolor Sociaty's 37th Annual National Show AQUEOUS USA 2014 wil be held at Actors Theat Gallery in Lousvile, KY {this fall $8,000 in auatds presented in 2013 Frederick C. Graf, AWS & TWSA sth juror ‘and wil present his "Creative Approaches to Witercolor workshop in Louisville, KY September 23-26, Downioad prospectus at wow kentuckywatercolorsoclety.org ot ene SSASE to KWS, PO. Box Ti28, Louw, KY 40257-0126, DEADLINE: JUNE 30, 2014 446th Watercolor West International Juried Exhibition. Call or entries: On-Line Enties Cae ean amare sie Br eels rr Stopes oeeeemeeetl ee! Peers Se eee an ca ge Sa an SULY 1, 2014 Fh commen ee rent ee ee Fodor Nee ee eat oncane VewPaint 4 Chena, One ee 46th Annual Juried iS Ss, Beugn Concearts le? eae ees eee ete Sea Ente ny he ay oop On inet se cence ae ante See asran meat aie ai DEADLINE: JULY 1, 2014 eet EN 20 rade eee ee ert ten, ee ee see Seamer tm eae Pedra untae onan Sethe tence cee Ce eo teefaaaom ee ne ee See en ere Vote ee Bete en ae nance er eee DEADLINE: AUGUST 1, 2014 The Me Engin tooo ec eed ee eet ee Seeace ene ee, Peayencrseeta aer Promeeteeedileine | romete eee eae ae peer eet Seep arene ee ae oe oe merchandise. Only Tisnsparan! Waterdlr, EARLY-BIRD DEADLINE: Competition willbe featured inthe Api 2015 DEADLINE: JULY 1, 2014 ational ar Benton Y0r24 2014 Over $6000 fn awards. A prospectus for mallng formation sontact Woteredlor Socoty announces te 2014 wnvcalforentry2rg betwoon May 12014 OlConnor watercolor workahop wif bo DEADLINE: JULY 12, 2014 Missoum of Pennsylvania, Haraburg, PA wsjunedshowegmalicom Amettean Jrled exibition, Over $8,000 in November, 204 Juror avareCastanet wi DEADLINE: AUGUST 26, 2014 Senter Galery October 19 November 16 www nPwS.org Jan Sitts Art Workshops in Acrylic and Mixed Media See Website forall US. Workshops and to Order her are books Jjan@jansitts.com wwwjansitts.com Our classes lasta lifetime. JOHN C. CAMPBELL FOLK SCHOOL, folkschoolorg + 800-FOLK'SCH Mar Part ane te zon Sn June Vilage Sees of Prvece Sep: Mares Cesta sects Sey Fal cars nega Mee Crs SEND. Judy Moris WC Jy 18-28 coon ane aul prnasoeteeants test Watercolor Artist | June 2014 65Workshops stan Miller February 2015, Mobile. Contact” 509/768-9354 Standstanmilernet or www stanmillesnet Art In The Mountains 5/8-6I15/5, Mary Vnyte anc the inside Paseage - One Way Al Love Palntrs Weleome, Contact Tracy Culbertson, 503/930-4872 Infoartinthemountains.com or ‘ww artinthemeuntains.com Robert Burridge 5IS-5/9/4, Sedona. Artist Ratrast Contemporary Abstract Figura Painting ana Collage. §-day Workshop (Monday Fricay), Sedona Aris Center. Contact: 888/054-4442 or 928/282-2808 wurwsedonaartscerterorg/Schoo/Faculty/ rebertburridgo hen Jan sitts Several months for teaching stil availabe, Sis/t5/1a, Sedona, Texture-Color-Feeing Sedona Arts Center Contact: Debbie 10/6-10/8/14, Proseatt.Texture-Color Feeling Mountain artist Gul Contact, Barbara Olver, 928/445-2510 1W/6-119/14, Sedona, Texture-Calor- Feeling Sedona Arta Center. Contact: ebbie 926/282-3809 0 888/954-4442 Er WhepaneT Wi Do | rice cd eet ee eo ‘School of Painting Workshops on, ‘ at ets prrceTy Sonne tret tire ery 65 watercolorartetmagenine com Art In The Mountains 918-9724, Santa Barbara. David Telor ‘The Froedom and Flow of Watercolour Plein Air Intermactsta to Acvanced students {o/ecoftorig, san Franetsco. John Lovett, Stretching the Boundaries - Watercolor and Mined Media Sto, Al levels {o/a-0/"7Na, San Francisco. John Lovet, Stiring the Pet Wiatoreolor and Mixed Media allfevels, Contact: acy Culbertson, 503/930-4572 Infedertinthemountaine.com or ‘rn atinthemountaine com Robert Burridge 5f23-6/1/14, aroye Grande. Rober? Burridge Stu Worlahop. Come paint wth Bob nhs Stise in Areyo Grande, CA (netides incisal ‘mentor tine, demonstrations ans personal theme development). 4-day Workshop/Mentor Program, limited to ? erralees. Contact: Kate@Robertourridge.com for fees nd dota. 6f6-6/8/14, San Luls Obispo. Experimental Workshop forthe Advanced Pater. Think Loeser, Bigger, Fresher and Sat Your Goals, Higher: day Werashop (riday-Sunday). San Lis Obispo Museum of Art. Contact; 205/643-8552 ext ffeeesioma.org of www sioma org Ratindra Das 6126-61284, Acadia 6(30-772114, Orange. Sontact: www etndradas.net Idyllwild arts Located inthe beautiful mountains of Seuthern Calfomia, Over 80 workshops for it ineluding Painting, Drawing, Mies Modia, Coramice, Metalsiewalry, Native bmarican Arts. Printmaking. 390k Arts Sculpture. Painting & Drawing Workshops. ROBERT BURRIDGE + Burridge Studio App + Free Monthly Online Newsletter + 2014 Workshop Schedule + Workshops in Bob's Studio summeraidylwidarts.or9 0 sworyllildarts.org Stan Miller July 2014, San Francisco. Contact: 809/760-9558 Stendstanmilernet or wuwstanmillecnet ;git O'Connor 4244/27/14, Mendocino, Spring Flowers. Contact. rovigar 5816 0° 800/089-3328. S/8W/t4, Pt. Royee National Seashore. Spring Coastal Booms Contact: Jen, 415/663-1200 ext 378 Felainstiute@pureyes.ora or ‘wawbirgtoconnareom Ratindra Das 5316-31774, Grand Junction Contact: www AatingraDas.net Birgit O'Connor 10/20/4714, Pueblo, Souther Colorado Watercolor Society Contact: Jan Steers, 719/275-6425, Steersart@bresnan net Jaimie Cordero Workshops and Cl Evening Watercolor Classes, sfalig s/2i/a, s/e8/t4, Session | Tiana, MeN, t23/14, Session 2 Gren, 3/14, 827714, Seasion 3. (No class fn Aug 20) 6:30 -0:00 pm. Location Oak B Momiber Fae $80 ara Non-Alembar Foo $85, **Parteipaton in the Evening Watercolor Classes sutomaticaly qualities you to enter the 2018 th Annual Watercolor Stidents \Juied Exhibition December 214 trough January 2015. Come join us in this olaxng, intend environment ans learn how to paint InWatereoior Each S-week session wil focus “Premier Destination Workshops!” rere ee Mary Whyte PER ag Cre) , feta feo eC S eg Pee) Lobenberg| Karen Rosasco Rea rf era os i toad Papilio‘on new topics and subject matter to fue your reatty al levels are welcome to participate, Nationaly recognized atsfnstuctor provides ‘weekly demonsttations and one-on-one ‘Guidance so you ean learn, or improve, with Spro! Advance repisvaton required. Csses Subject to cancellation if nsuficien registration. Supply sts provided with paid registration Saturday Morning “Watercolor Basics” = Siig, 8/24/14, Soccion |. mana, 79/4, Session 2. ayaa, 16/4, Session 3 00 21m. to :00 pum. Location Oak B Member Fee: $60 per Session Non-member Fee $66 per Session. Whether you are just Starting out wth Watercolors. oF ate rekindling thet connection this Saturday moming saris is designed for you! Topics inelude: Balancing Water to Color, Painting Landscapes: Basie Composition; Color Combining, Transparent Layering; Basic Drawing for Watercolr. There ‘wil be # Saturday Classes each month (no Sn June). "*Partilpation in the Beginners Watercolor Classes automatiealy qualies You to enter the 2014 th Antal Watercolor Students’ Juried Exhibition December 2014 through vanuory 2016 Contact: Jsimia Cordero, 788/303-6203 WOJaimiec@aolcom or ‘hw acuarelestudiosandGalleries com ‘Year-Round Wednesday Evening Studio Watercolor Classes 6.30 pm -9 pm, Pinecrest Community Canter, 5855 SW Tith Streat, Miami, EL vww_pinecrestflgoy (eek on “Lelsure Guide") ILLINOIS. Ratindra Das 5/27-5/20/14, Chicago Botanic Garden 8722-8/24/14, Palatino. Contact: www Ratindradas.net Dre erlg lac CT Eu ee in Transparent Watercolor Pee eer nent eneen enna pai een eee ee enema De eee eee eee RE ead Email: WDlaimiec@aol.com Ce ee MAINE Holen K. Beacham Fine Art 1076-10/10/6, Berard, Translucent Mec! Lit from Behind (Wstoreclor on translucent Yupo) Hele indoors, Nea: paint on BOTH SIDES oF ‘ny tanslucent Yupo. Learn how Beginners to Advanced. $625 Sponsored by: Acadia Workshop Center www acadiaworkehopeentercom Contact: Gall ibs, Werkshop Director 201/460-4i19or awemsine@gmall Tony van Hasselt, AWS. Thurnela, Belfaet. Tivos or fue days of plein airwatereclor fun on this workshop featuring interesting street and harbor eenae th thie histone Maine port Day demonsttations, individual painting time and 9/15-9/19/18, Boothbay Harbor. Jon for three rive days on this workshop sn let Tony Show you his favorko painting location in Ns fun “backyars Contact: sherry, 600/248-6449 ‘wevwvanhassettworkshops.com MASSACHUSETTS. Northeast Art Workshops ‘Af2e-siatia, enc Wiegersh 5f5-5/9/14, Don andrews S7i2-s/e/ia, Janet & Steve Rogors 57i9-s/25/4 Karen Rosasce, 612-6164, Henry Yan mis-e/20/14, srt © Connor. 8(23-8/26/14, Thomse Schaller. 71ae-a1it4, Barbora Noch 9715-97116, Mary Alice Braukman, 9N5-9/19/18, Gerais Brommer 2122-9/26/14, Skip Lawrence, {0/60/1074 Jonathan Talbot sOns0lT76, Katherine Chang Lv lons-torzen, Deb chara. AnS-anTits, Lana Grow. Camille Praewodek. Albert Handel! ‘Thomas Schaller Andy Evonsen Joe Paquet, Kami Mendlik. Shelby Keefe, Tom Nachreiner Lovise Gils Gil Delinge. June 2327, July 21-25 July 26-hug 1 Aug 4-8 Bug 1-15, ug 18-22, dug 25.29 Sept 8-12 Sept 22-26 Oct 1317 | Sterling Edwards 4r2r-5)/5, Georgia Mansuet, 5/4-5/8)5, Pat Ons Contact: www NorthesstArtWorkahops.com Birgit o'connor G/1€-6/20/14, Gloucester. Big Sold Beautiful Flowore. NAW Northeact Art Workshop Retreats LLC Contact: Kat Masel, 978/729-4870 Infoanarthesstartworkshops.com Eric Wiegardt, AWS-DF, NWS afzs-s/2iia, Gloucester. Secreta cf Painting lace Contact: Northeast Art Workshop \warwnorthesstartworkshops.com MICHIGAN Chris Unwin, NWS. 2014, West Bloomfield. Tuesdays - weekly Contact: Chris Unwin, 6850 brookeshire, West bloomtela, 2es/se4-4902 \waryoutube.com/watchav=FUoss6PGfac MINNESOTA Eric Wiegardt, AWS-DF, NWS Gle-eii/a, Battle Lake, Secrets of Panting Lasee Contact: Dela Conroy Studio, 320/2eT.14N4 NEW HAMPSHIRE ‘Tony van Hasselt, AWS. 10/5"0/9/14, East Madison. Thiee or ve Say of plan sir watercolor fun on tis Yall ‘olage workehap st Durty Spring Resort. bffering comfortable accommodations and sil esis. bemonstietions, Individual painting ‘ime and eesatance, Cartsct: Sherry, 800/248-6449 worwvanhassefiworkshops.com NEW JERSEY Tom Lynch 4f25-4)2t/14, ed Bank. Contact: e20ves-2682 fomiyachemsncom or wwvetomiy May 19-23 lune 24 July 7-11 Aug 18:22, Sopt 15-19 Sept 22-26 Sept 29-0ct 3 Jeannie McGuire Fealing Lin Kathie George. Nicholas Simmons Mary Ann Beckwith Ted NutalRobert Burridge 5/18-9/24/14, Loosen Up with Aquamedia Painting. § dey Workshop (Mondsy Friday), Hudson Fiver Valley art Wrkehop. Contact: Kim LaPola 518/908-5219 or 888/665-0024 PO Bor 689, Greenville, NY 12083 Wow artworkehope.com Hudson River Valley Art Workshops. S/zr-s/aia, kattyanne White, 5/4-5/10M4, Jos Weatherly 5/15-5/8/14, Margaret Dyer 57ie-5/aa/, Robert Burridge. 5/29-8/1"4,Eizabeth Hels Srre/ria, Eric wiegara 6ie-s/14/a, Margaret Evans. 6716-67214, Karen Rosasce, 6/22-6/28/14, Howard Roce S/26-7/iha, Cathy Taylor, Moana, christine Wers. 7nS-7N9N, Alan Fatman, 7f20-78)'4, David Dunlop. Thr-siaita, bote Fore 8/3-8/9/4, el Statin 14-9776, ses Lindsay. 8/7-9/3/44, Ted Nuttal, 8/14-9/20/1, Fichsrs Mekinley, 8/21-9/27/14, Jon NacDorala 8/28-10/4/1, Skip Laurence, o/S0/tig, Joe Boner o/i-torte/a, seli-cuided Retreat. Contact: 688/685-0044 Infoartworkshops.com or ‘nwartworkshone com Eric Wiegardt, AWS-DF, NWS 6126/64, Greeril Jaimie Cordero Workshop ‘fa:6/1a/14, Boone. Chesp Joe's Contact Registration & Supply Lie Edwina May, Cheap Joe's, Boone NC, 855/379-2385 eawinatteheapjoes com Contact information regarding class Content Jaimie Cordero, Aquarele Studios & erie, Ine, PO Box S8S658, Bnecrest FL ‘Siese-505e, 786/908-5299 Wovamiec@aaicom or ‘wir kquareleStuclosandGalleries.com John C. Campbell Folk Schoo! ‘fa-s/i0/i, Brasstown. Gay Bryant, Watercolor 1, Wish you could paint watercolor? You eer! inthis beginning clas, you'll laarn to Use watercolor Brushes, pats, and papers [ane as we paint we'll cover basis watorelor fachniques, colo theory principles of mixing Color, desig, and composition Paint from personal photograph and learn how to make fainting “suceeseful This clase ie designed for baginners, but a ovels ara weleome, ‘$504 Weeklong, {5/ti-5)17114, Brasstown. Joho Mc Kah, olin Ploin A: The Painter's Craft. This lage efor Intermediate to advanced students seri ‘bout creating # good painting ina professional ‘manner Ne will make gut ows Supports snd (grounds, 2¢ wollascilvarmish meaiume in the traction ofthe masters. Palnting wil be in the studio srl on location, antieipate walking ‘ne carrying supplies, Pure gum turpentine ‘allbe Used inthe land withthe mixing of ‘odiume; odorless Turpenoid® inthe tual. Oi painting experience s required. $598, 5/25-8/30/4, Brasstown, Betty S1O¥?, Intermediate Watereoor. If youre comfrtable Dhotographs, or stil fes can be arranged. You fave also welcome to bring some of your origina pisces for entique or to share with the class. Bosont watercolor oxperionce ie 3 must, eo thatwe may move you forward. $832 Srrs/7/4, Brasstown. Carolyn older, Beginning to intermediate Paste. Discover the brant eclors ane subtle shades possible with coft pastla. Lear the fundamentals: Dt working with soft pastel though stp. by-step instruction n material, techniques, ‘Composition, cow, and este and handling of a pastel omntin. Fait anol barn néscape from a photograph; most of al have fun creating! No experience requred. $594 Gfe-6/14/14, Brasstown, Suzanne DesLauriers, Mountain Landscapes In Wetarcelor Layer Doautil transparent watercolors to form mountain landscapes, Create textures useful for foreground trees, barns and gardens. Weather permitting, we ul pend a couple (of momings sketching and painting outdoors For eeginning to intermaciate students who. love nature and painting. $598, 6i22-6/28/14, Brasstown. Kathy Cooper, Handpainted Flooreetha. Foorclothe sre for everyone! Join us fora fun filed wack of panting canvas rugs. Learn step-by-step how fo construct a flooreoth and expiore painting techniques thet sult your own style while Ccustom-painting 2 rug or two, You can also \ise your canvas to make placemats, table Furnes and pet mats. Al levels welcome - no bior painting expenence needed. $594, 65129-7164, Brasetown. Elly Hobgood, Fresh Floraien Watercolor Achieve now cimensicne bf dapth and ras when painting toners in watercolor. Enjoy combining vibrant colors with texturing techniques, guided by useful Secrets of Painting Looee tnth the medium ef weteresier but searching {or improvement, join vs. We wil ok st way {@ push each artat, expanding your search {or inavidualereativty, Work from personal theory Intermesiate students or thace who have had some exposure to watereolo: wl benefit most trom this class, atnough many’ Basie concepts ull be reviewed. $594, Contact: Hudson FverVallay Art Workshop Infosartworkshops com or www artwarkshops.com cocaine LYNCH’S Ptettas Reel ods painting secrets! This classic from Tom Lynch is now available in paperback! Achieve loose energetic watercolor compositions through step-by-step demonstrations with artist Tom Lynch. Discover the perfect guide for beginners to create dynamic, expressive and vibrant watercolor paintings through inspiring examples. Each principle features exercises designed to help artists build their skills and paint with impact! You'll enjoy: oe WATERCOLOR® rl ite ics t + Abreakdown of Tom Lynch's painting principles, including Values, Color, Shapes, Impact Area, and Expression & Mood strategies into simple * Visual instruction, featuring before-and-after examples * Color-coded sections for easy referencing This and many more North Light products are available at your favorite art & craft retailer or bookstore. You can also order online at NorthLightShop.com or by phone at 1-800-258-0928. EE] sisenewon PAS ae rglnigy tee animmerint of FAW Meet ne.contact: Jonn ¢, Campbell Folk School Brasstown, No, 800°FOLK'SCM or ‘wwe tolkochoolorg Chris Unwin, NWS, 428-5/214, Boone. Contact Cheap ose, 800/227-2788 ‘nwa youtube.comwatch?v=F lodSGPGtge {art In The Mountains 6hi6-6/20/14, Bend. kim English, Gui Capo Sts lin A Alllovels welcome, 6129°6/2714, Bond, Don Androws, Painting Figuras inthe Landscape. Watercolor = Studi, Baginning to Advanced student, 7128-a//14, Bend. Birgit O'Conrar, Rocks, Sona, Glaed ano Shale, Watercolor = Studio Beginning to Advanced students Same knowledge of watercolr is helpful ‘214:8/8/44, Band, ci Delloger Turing Plein Air sketanes nto Great Paintings, Pastel Intermediate to Aavanced {)M-8/15/14, Bend. David Lobenberg, Calfoma-vibe Waiereoiot Portaltte, Studio, Beginning to Intermediate ‘bft8-8/22/14, Bend. Karen Rosasco, ‘Abstraction By Design (using fd acrylics and lage). stualo. Beginning to Advanced ‘(25-8/28/14, Bend. Lian Guan Zhen, East Meets West. Watercolor and Chinese Watercolor Studia, Sagining to Advances. Contact Tracy Cuibertzan, 903/830-4072 ‘nfoartinthemountains.cem or ‘wwwarinthemeurtaing com ‘stan Miller September 2014, Portland, Contact 809/768-0964 Stan@stanmilornet or www stanmileenet Birgit O'Connor ‘128-8114, Bend. Rocks, Sand & Sea Glass. Contact tracy Culbertsan, 503/830-4572 tnfowartinthemountains.com HUDSON RIVER VALLEY ART WORKSHOPS, Margaret Beans Karen Rosssco Howard Rose [Cathy Taylor Christine Wers ‘Alan Flauman Sep. 47, 2014 Sep. 7-13, 2014 Sep. 14-20. 2014) Sep. 21-27, 2014 Sop. 28-0ct. 4, 2014 ce. §-11, 2014 Occ. 12-18, 2014 Joho MacDonald Skip Lawrence: Joe Dohler Sefl-Guided Retrext ERM) Pittsburgh Watercolor Society 9/29-10/3/14, Ptsburgh. Aqueous Open is the annual international exhibit open to bath ‘members and non-members, Donna Zagotta Is.n intornationally acclaimed toacker and is the juror of thie Years Aqueous Open. Cost ‘3500 non-members, $475 PWS mombors. Contact: Eleen Sudaina, e12/7513697 'ud8yS2001@yahoo.com Helen K. Beacham Fine Art 9/12-9/14/14, Charleston. (Plain Air Watercolor {jor Sketching) Baginners to Advanced. 8295, 4110-4/12115, Charleston. (Pein Ar Watercolor {jor Sketching) Baginners to Advanced. 8295 Contact: Helen K. Beacham, 643/871-5637 helenkbeacham@gmeiicom or ‘wow HelenBeacham.com Springmaid Beach Watermedia Workshops 2/226, Linda Baker Carcle Barnes, Garald Brammer, Caria Brown, Kathleen Conover Fed Graf, Alex Powars, git (Oonner, Dale Laitinen, Skip Lanrence, Annie Morgan, Garbara Nochis, Ted Nuttall Janet Rogers, ric Wiegardt, and Lian Guan zhen, Contact: 849/316-7I80 or 866/890-5687 AnistinfoaspringmaiaWatermedia.com or ‘wow SpringmaiaWatermecta.com Artin The Mountains P2H/GNIS and 1W9-1/13/15, San Antonie Drawing and Painting with Charlas Reid Intermediate to Advanced Painters Welcome. Contact: Tracy Culbertson, 803/930-4572 Invowartirthemountains.com or wow artinthemountains. com ‘STAN MILLER WORKSHOPS: San Francisco, CA- July 2014 Portiand, OR September 2074 France - September 2074 Puerto Vallarta, Mexico ~ January 2015 ‘Mobile, AL - February 2015 WWW.STANMILLER.NET (509) 768-9354 stan@stanmiller.net Crow Hill Gallery To-rH13t4, Chester. Jeanne Carbone, Painting From The Heart Workshop. Contact a0areis 4763 ‘warwcrownilgallery.com Tony van Hasselt, AWS. 9726-9/30/14 Landgrove, Thee or fe days ‘fpplein alt watercolr fun on this fal flag ‘Workshop 3t3 comfortable county inn, smidat S'clorfal pastoral setting. Demonstrations, inaldual painting time and assistance, Contact: sherry, 800/248-6849 \warwivanhaseeliworkshops.com Tom Lynch Sh sah, Floyd. Watercolor Secrets Revealed, Contact: eaorast 2682 tomiynchemsncom or wwvrsomiynch com Stan Miller All Year 2014, Spokane. Contact 909/768-0358 Standstanmillrnet or wwnx.etanmillernet van sits Bf-8/14/4, Coupevile. Texture-Coloe Foaling, Pace Northwest art Schoo. Contact: Lisa, 360/076-3996 oF to free beo/ere 3998 Erie Wiegardt, AWS-DF, NWS 5/18-5/23/4, Snohomish, Secrets af Painting Loose. Contact: Arte of Srohomish Gallery Wwarwartscfsnahomish org Ti-r/s/t4, Long Beach. Eric Wiegardt’s Echoal of Painting, Secrets of Painting Loose, Contact: viagarat Stato Gallary \Watercolorsteriewiegarat com or wawericwiegarct com TANG Re aL Your Online Source For ere nae Lyd Watercolor Artist | vune 2014 69WISCONSIN Robert Burridge 6/16-6/20/14, Lac du Flambeau. Allst Reieat - Contemporary Abstract Figure Painting & Collage. 5-day Workshop (Monday-Friday) Dilman's Bay Resort Dilimar’s Creative Ats Foundation, Contact 6/688 3149 ‘YecationeBeimans.com or wwvedilmans.com Ratindra Das 26/18/14, Janesville. 8/30-10/a/i4, Roedsbur Contact. wiv Ratindrabas nat S/23-8127/14, cme Przewodek Trthha, Fealing Lin. TPaU726)"4,Aloort Hand! 14, Thomas Schall 722-8/26/14, Mary Aen Beckwith fons-tort7ts, ci Delinges. Contact: T5/747-2084 ‘war madeiineschael com Birgit O'Connor 5/18-5/22/14, vilmans, Big Gold Beautful Famers Contact Tisis66-3143 ‘wonedilmanscom/erai.him Jan sitts /16-6/19/14, Dilmans. Contact: Sue, 715/586-3143 International CANADA Ratindra Das Holen K. Beacham Fine Art Tn3-7/20/18, Montreal. Sketch the Diferent Flavors of Montreal. My Home Town (Plein Air Sketching & Jouraing with watercolors ‘9 mesium of your choice), Venez avec mat {Come with mal) dogmnere to Advance. Eaty Bd rates offered, Contact: Helon, 843/871-6697 helonkbeachamegmall com or ‘WoeHotenkBeacham com Birgit O'Connor ‘67120/18, Newfoundland, Big Bold Beautf Flowers Contact: Veims, 709/834-8010 datonvelmal@gmallcom FRANCE Stan Mi Septemoer 201 Contact: 509/760-9054 Standstanmilernet or wwwestanmillernet Tony van Hasselt, A.W.S. 6/13-6/25/1, Provence en Pein At. 4 ‘watercolor pairing and sketchbook journaling ‘Workshop. Stay in medieval Vaison la Remain, Subject ust steps ‘rom the hatel ana in nearby vilages of the Haute Provence. Contact: Sherry, c00/248-6448 ‘worwcvanhesaeltworkshope.com INDONESIA Flying Colors Art Workshops. Specializes m organizing ond hosting ot ‘Workshops around the world We concentrate ‘on proviging warkshop participants with the nest, widely known instructors, and also n arranging avalet of special vavel Sestinations designed te enhence participant ‘xperionces and overall eatiefaction. {/18-9/2/1, Ball. Don Anaraws WiC. Contact: Johanna Morrell 858/518-0949 Fiyingcolorsarteme.com or win FiyingGolersart.com IRELAND Flying Colors Art Workshops. Tntla6/, Jocy Mortis WiC. Contact: Johanna Merrell 858/518-0949 Fiyingeoloraarteme.com or vr FlyingColorear.com iraLy Flying Colors Art Workshops 9/49/47, ama Mare Mehstey Watermedia Contact: Johanna Morrell 858/518-0940 Fiyingcolorsarteme.com or wiv FiyingColersart.com Helen K. Beacham Fine Art 512-5/10/%5, Venice, Plain he Sketching or Watercolor Paring, Maximum of 5. Beginners (ath some minimal experience) to advanced Were staying na Vanetian apartment Early Bird rates tered Contact: Helen, 843/871-5637 helenkbeacham@gmalicam or ‘rir Heloniaeacham.com Tony van Hasselt, AWS. S/31-6/9/4, Tuscany en Plein A.A watercolor painting and sketchbook journaling workshop, ‘tine and olive aatte mith 2roling fandecape and quart farmhouses. Skteh in {ees aha the Cinque Terre Contact: Sherry, 800/248-6449 ‘rvusvanhasseltworkshops.com The Watermill at Posara Unique paintng workshops with renowned Intemnatonal tutors at a beautifully restored {Mth Century water Seven day six Mights {ullboard acsommadstion Parag In stunning locations, excursion to Lucca or the Cinque’ ‘Tere. The cost ofthe hala workshop Includes tution, accommodation (neluding linen ard towels), preainner apert ‘reals (nclicing dinners with wine at charming focal restaurant) and alloca transportation Cineuding transfers ta Psa airport and an ‘xcuFsion by tainto Luces of the Cinque {Terre} You get to Pla, tay we do the est! The 2014 patnting tutors af the il are: ‘5fia-5)24/i, Paintings watercolours with Frank Eber (rom USA) (eluding a special ‘day Florence 260-0n) 5/24-8/31/14, Parting: watercolours with Keiko Tanabe (from USA). S/31-6/7N4, Painting: watercolours with ‘Trevor Lingare om Englar) efF-6n14ns, Painting: of, watercolours and ‘other mecia with Becky Jay from USA) /a-6/2i/4, Painting: watercolours, plus oll 2nd aeryies wth Fabio Cembrarell (rom era {6f21-6/28/14, Painting watercolours, aso ols ‘nd aeryics with Nike Widridge trom England 6/28-718/14, Painting watacelour, sao ols and Seiji with ike Wisrdgo vom England. Bne-a/2s/, Painting watercoleurs impasto serves and as with Georgia Mansur (rom Austral). £8(30-9/6/4, Painting ols, peste, watercolour tc. with Larzine Simpson trom England. ‘Sfo-97207t4, Painting: watereoicuracry, l photography with Sarah Yeoman (rom USA, ‘5720-97274, Painting: watercolours with Trovor Lingard from England). S/2r-10/a/a, Pantng: watercolours with Charles sluga (tom usta). ‘ofa-oratiia, panting: watercolours with David Tayler (hom Australi Contact ill or Laie at intoee jphone: +39 366 486 2587 More ‘rw wateemilinet painting hoicays MEXICO Stan miller January 2018, Puerto Vallarta, Contact: 509/768-9954 stondstanmilernet or wuwstanmillecnet UNITED KINGDOM Flying Colors Art Workshops 17)18-7/28/14, Cocawall. Frank Webb WC. Contact: Johanna Merill 258/518-0948 Fijngcoloraart@me.com or ‘war FiyingColorsart.com ADVERTISER’S INDEX Alaska Waternlor Society 65 AquareleStutins And Galeries 81 Ain The Mountains 86 Brgit cannon. a Bismarck Art & Callies Assoition 65 Bick rt Materals 15,0 Carson Fess Cincinnati rt Cub 5 Create Art Workshops bt ‘row il Galery 6 FA Meda I. 2 58, 65, 68,71, BC Faber Castell 315 Festtreet 6 Flying Colors Art Workstoy [ Foxthils Art Center. 66 (General Pei 6.18 Golden artis Colas 8 Grate ats, 15,20 Hole K.Beactam, ba House of Hotfnan a Hudson iver Valley 9 loytwad arts ea Jan sits 85 Jahn ¢. Campbell Falk School 65 Kentucky Wetarcolor Solty 6 Mateine Itand School of art 8 New England Watercolor Society... 5 NiagtaFotir Watercolor Society... 65 Northeast At Workshops. bt Peansvania Watercolor Sovey....... 65 Phiadephia Waterco Society. 6 Pasourg Watercolor Saciey ba Patina Das 4 Aobert Burridge Sti. 66 Aogwel Fine drs League 65 Sher Brush Ud 1g Souther Colorado Waterclrs, 65 Sringnaid Beach Watermedia Workshops. 1 SF. Augustine at Assocation 6s Stan ile. 89 Tom yn 9 Tony van Hassel 65 Vatercalar West 65 termi, the. ea egardt Galery. 6= me cS LESS Learn to paint watercolors that capture the beauty and personality of all your favorite brilliant blooms—and achieve color more vivid than you ever dreamed possible with watercolor! With Soon Y. Warren's instruction, you'll learn to: Capture the unique shapes, textures, and details of magnolias, hibiscus, sunflowers, bougainvillea, gladiolus and more Use watercolor to duplicate and enhance the floral colors you see in nature, from subtle to saturated * Leam techniques for underpainting, mingling and texturing with 25 step-by-step demonstrations, including tw« new, full-length demonstrations unique to this e Flowers in Watercolor today in the North Light Shop! NorthLightShop.compicture BY MARLIN ROTAC The Joy of Floral Painting “Earth laughs in Flowers,’ Ralph Waldo Emerson eens provide such a beautiful, colorful and positive environment; ! always keep live arrangements in my house. Although I paint an array of subjects, all my work benefits from lessons [learned making monumental floral paintings, The most important ‘was to take my time and really look at my subject, For my florals, that means forgetting for a moment that 'm looking at lowers and studying them in abstract terms—tine, shape, value, texture and color. If successfully handle all of these components, the result will be a successful painting ‘When tell people that I'm a floral watercoloris, they usually assume that do quick, washy plein ai-looking work. To the contrary, my paintings take a great amount of time, and though many artists may not have the patience to fallow my specific approach, 1 feel like use the greatest part of my brain when creating these detailed images, Homage to Jan (watercolor on paper, 65x39) Marlin Rotach shares his best floral painting tips on page 38.a. Capture the WONDERS OF NATURE in your watercolor painting| Breathe fresh air into your paintings with Aq a this learn-to-paint guide from Cathy 7 a yf » (za « Johnson! You'll learn to capture the beauty XQ \ of your natural surroundings in an inviting, sketchbook-style format and improve your ~ PAINTING NATURE powers of observation so you can accurately in Watercolor with Cathy Johnson portray what you see. Inside you'll find: * Explorations of five varied landscape themes: forests, es water, meadows, mountains and deserts. . * 37 step-by-step watercolor pencil and paint “¥ demonstrations from Cathy. ow * Expert advice on how to gather reference materials, create your own field kit, paint people in nature, and much more! NORTH LIGHT SHOP _ Get your copy of Painting Nature BRINGING ART TO LIFE in Watercolor with Cathy Johnson today in the North Light Shop! NorthLightShop.comead Pre RCU Re eter "[love Blick Artists’ Watercolors! 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