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Paint the
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An Expert Guide
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& Textures Mid-Tone
Crisis

5 Ways to FEBRUARY 2019

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Contents FEBRUARY 2019

Features

28
THE YEAR’S
BEST PAINTINGS
Get insider insight into some
of 2018’s best watermedia
work. PLUS: Judges weigh in
on what makes a winner.
BY MCKENZIE GRAHAM

42
PAINTING UNDER
THE TUSCAN SUN
There’s plenty to learn and
experience when creating
in the Italian countryside.
BY ANNE HEVENER

46
ANCIENT & MODERN
Wendy Artin deftly handles
sublime and bold imagery
of oft-overlooked city details. 56
BY JOHN A. PARKS

56
SEEING IN SHADES
62
WHERE LIFE
70
A PORTRAIT
OF GRAY AND ART INTERSECT BY ANY OTHER NAME
Unify your work with a John Bayalis’s depictions of New York City, Philadelphia,
strong value structure built everyday scenes are an ode Venice and Bermuda “model”
on a grisaille underpainting. to “Anywhere, USA.” as muses for light, color,
BY TIM SATERNOW
00
BY STEFANIE LAUFERSWEILER texture and atmosphere.
BY JAMES TOOGOOD
00
ArtistsNetwork.com 1
 FEBRUARY 2019

Columns
4 EDITOR’S NOTE
Experience the city through
the eyes of an artist.

6 HAPPENINGS
The Missouri Watercolor
Society visits China.
BY MCKENZIE GRAHAM

10 ANATOMY OF
A PAINTING
J.M.W. Turner immortalizes
one of his favorite locales.
BY JERRY N. WEISS

12 CREATIVITY
WORKSHOP
Notans + India ink =
mid-tone crisis averted!
BY JOE CIBERE

19 WATERCOLOR
ESSENTIALS
Going gray? Mix primary
colors to create your
preferred strength.
BY KEIKO TANABE 19
26 BURNING QUESTION
Five ideas to advance
your art goals in 2019. 12
COMPILED BY ANNE HEVENER

78 BRIGHT IDEAS
Watercolor goes to the dark ON THE COVER
side with nocturnes.
BY STEPHEN HARBY 21 Best Watermedia Paintings
of the Year 28
88 OPEN BOOK Paint the City 46, 56, 62, 70
Look to the figure
as a source of 5 Ways to Jump-Start
endless inspiration. Your Art Now 26
BY SUSAN WEINTRAUB Quick Tips to Avoid
a Mid-Tone Crisis 12
Nocturne on the Grand Canal
Get Social (detail; watercolor on paper, 30x22)
by James Toogood
@ARTISTSNETWORK

Watercolor Artist (ISSN 1941-5451) is published six times a year in February, April, June, August, October and December by F+W Media, Inc., 10151 Carver Road, Suite 300, Blue Ash OH 45242; tel: 513/531-
2222. Single copies: $7.99. Subscription rates: one year $21.97. Canadian subscriptions add $12 per year postal surcharge. Foreign subscriptions add $18 per year postal charge, and remit in U.S. funds.
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available at northlightshop.com or by calling 855/842-5267. GST R122594716. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.

2 Watercolor artist | FEBRUARY 2019

Editor’s Note Watercolor
ARTISTSNETWORK.COM

f or me, and I suspect for many of

us, our visions of world-famous
cities are signiicantly shaped by
painters’ legendary portrayals of
these places—the Parisian views of
EDITOR-IN-CHIEF Anne Hevener
SENIOR DESIGNER Brian Roeth
SENIOR EDITOR Beth Williams
ASSOCIATE EDITOR McKenzie Graham

GROUP PUBLISHER, VISUAL ARTS, WRITING, GENEALOGY,

WOODWORKING + HORTICULTURE Allison Dolan
Camille Pissarro and Claude Monet,
for example, or Gustave Caillebotte. ADVERTISING
At the root of these memorable interpretations are artists ADVERTISING CONSULTANT Mary McLane
Northeastern, Western U.S. & International; 970/290-6065
with a personal connection to the places they’re painting.
mary.mclane@fwmedia.com
Tim Saternow is an artist who identiies with that kind
ADVERTISING CONSULTANT Kaline Carter
of personal connection. hough he can appreciate the gran- Southeastern U.S.; 505/506-7698
deur of other urban hotspots, he’ll never ind anything kaline.carter@fwmedia.com
that captivates him like the visual excitement of New York MEDIA SALES COORDINATOR Barb Prill
City—a subject that ofers plenty of technical challenge. 800/283-0963, ext. 13435; barb.prill@fwmedia.com
On page 56, Saternow describes the value-centric strategy DIRECTOR OF ADVERTISING SALES—FINE ART, WRITING + DESIGN
he uses to make sense of the city’s overwhelming “cacoph- Tony Carrini
Office: 646/859-6599, ext: 12901; Mobile: 646/793-1424
ony of color, texture and shapes.” tony.carrini@fwmedia.com
Artist James Toogood thinks of his city paintings less
F+W, A CONTENT + ECOMMERCE COMPANY
as landscapes and more like “portraits” of a place. On page CHIEF EXECUTIVE OFFICER Gregory J. Osberg
70, you’ll learn how the many moods and unique atmo- CHIEF FINANCIAL OFFICER Kenneth Kharbanda
spheres of Venice, Philadelphia and New York City have SVP, GENERAL MANAGER F+W FINE ART, WRITING, OUTDOORS
inspired his work, and how these urban encounters ofer AND SMALL BUSINESS GROUP Ray Chelstowski
an interesting contrast to his painting experiences in the MANAGING DIRECTOR—F+W INTL. James Woollam
more laid-back environment of a tropical island. VP, CONSUMER MARKETING John Phelan
VP, GENERAL COUNSEL Robert Sporn
John Bayalis VP, PRODUCT MANAGEMENT Pat Fitzgerald
captures a unique
NEWSSTAND SALES Scott T. Hill
view of Havana,
scott.hill@procirc.com
Cuba, in his
painting, Havana EDITORIAL OFFICES
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ART I S TSN E T WO RK .CO M /CO N TAC T- US
Back issues are available. For pricing information or to order,
call 855/842-5267 or visit artistsnetwork.com/store.
Specify Watercolor Artist and the issue month and year.

You’ll also meet artists Wendy Artin (on page 46) and NEWSSTAND DISTRIBUTION
John Bayalis (on page 62), whose work demonstrates that Internationally distributed by Curtis Circulation Co.,
730 River Road, New Milford, NJ 07646.
towering buildings aren’t a requirement for paintings of the
Tel: 201/634-7400. Fax: 201/634-7499.
city. Artin’s paintings bypass some of the more iconic views Attention Retailers: To carry Watercolor Artist in your stores,
of Rome, and other world cities, to depict instead the intri- contact: sales@fwmedia.com.
cate columns and statues, and even graiti-covered walls. PRIVACY PROMISE
For Bayalis, the inspiration may be as likely to come from Occasionally we make portions of our customer list available to other companies so
a busy suburban intersection as the bustling city center. they may contact you about products and services that may be of interest to you. If
When it comes to the city in art, these watercolor artists you prefer we withhold your name, simply send a note with the magazine name to:
demonstrate a wonderful diversity of expression. So, if you List Manager, F+W Media, Inc. 10151 Carver Road, Suite 300, Blue Ash, OH 45242.
Printed in the USA
haven’t painted a cityscape in awhile—or ever—this may be
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the time to grab your sketchbook and hit the streets! WA
PHOTO BY CARA HUMMEL

Watercolor Artist magazine is a egistered trademark of F+W.

4 Watercolor artist | FEBRUARY 2019

 1 1 T H A N N U A L I N T E R N AT I O N A L YOUR PAINTING
watermedia COULD WIN $2,500

showcase AND WORLDWIDE

RECOGNITION!
Catapult your best painting
EARLY-BIRD DEADLINE: JULY 1, 2019 into the spotlight by entering
the Watermedia Showcase
competition. Winners and
honorable mentions will
experience the joy of seeing
their painting in the April
2020 issue of Watercolor Artist.

Best of Show:
$2,500
2nd Place:
$1,250
3rd Place:
$750
4th Place:
$500 Blick gift card
Fire and Metal (detail; watercolor on paper, 22x30) by Stephen Zhang

5 Honorable Mentions:
$100 Blick gift cards
Gift cards courtesy
of Watermedia
Showcase sponsor:

ENTER BY JULY 1, 2019,

FOR YOUR BEST ENTRY PRICE.

The competition is open to artists from around the

world. All works must be original. Mixed-media
entries are accepted, but the primary medium must
be watermedia on paper. There is no limit to the
number of entries you may submit. For additional
For a complete list of prizes, categories and entry details, visit: guidelines and to enter online, visit artistsnetwork.
artistsnetwork.com/art-competitions/watermedia-showcase/ com/art-competitions/watermedia-showcase/
 Happenings

Missouri Watercolor Society

International Exhibition viewers mingle
inside the expansive exhibition space
of the Qingdao Laotian Art Museum
prior to the awards ceremony.

/ MAKING A SPLASH /

Missouri Watercolor Society

By Daven Anderson

his past summer, I attended the the awards jurors,

Missouri Watercolor Society Inter- countless Chinese oi-
national Exhibition in Qingdao, China, cials, local art lovers,
from June 15th through July 7th—the and 44 American and
irst time our society had its annual Canadian artists and
international juried exhibition at a their spouses, who had
venue outside the United States. Juror spent the previous two
Laurin McCracken selected works by weeks touring and
member artists from six countries painting their way
from the many exhibition entrants. through China, a fabu-
he Chinese jurors of selection were lous experience.
A group photo is taken of the Missouri
Jian Chu; Long Ping; and Huizhan Li, Dongfeng Li had arranged the tour, Watercolor Society, with museum officials, the
the director of the Qingdao Laotian and I, as executive director of the Chinese jurors and many of the traveling artists.
Art Museum. he awards judges were society, helped him lead it.
Dongfeng Li, professor of art at he exhibition, hung in the beauti- awards were given out, with the
Morehead State University; Weixing ful and expansive galleries of the winners listed on a large wall panel.
Guan; and Huizhan Li. Qingdao Laotian Art Museum, Huizhan Li and I gave a short talk to
he awards ceremony was a success attracted considerable attention in celebrate the artists and their
by any measure. It was attended by China. Approximately $20,000 in incredible paintings.

6 Watercolor artist | FEBRUARY 2019

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ArtistsNetwork.com 7
 Happenings

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Raczynska’s preliminary
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The artist publishes two
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Chrysler Museum of Art, Norfolk, Va.
February 21-June 23, 2019
Not always appreciated as the com-
plex, richly diverse medium that it
is, watercolor came into its own
during the second half of the 19th
century, when artists primarily
known for their oil paintings

CHRYSLER MUSEUM OF ART; GIFT OF WALTER P. CHRYSLER, JR.

started to develop their skills in
watercolor. hese artists included
John Singer Sargent, homas
Moran and John La Farge.
Watercolor even came to be known
as the “American medium” and
spread quickly as it began to catch
on during American modernism.
“Watercolor: An American Medium”
will show more than 35 works in
watercolor that represent the broad
range of styles, subjects and artists.
All of the paintings come from the
Chrysler Museum of Art’s works on Watering Time (1921; watercolor and gouache on paper, mounted to board, 28½x41)
by Charles Ephraim Burchfield
paper collection. WA
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8 Watercolor artist | FEBRUARY 2019

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 Anatomy of a Painting

Glorious Passages
of Mingled Earth
and Heaven Though the contention
that Turner didn’t paint
on site is hardly credible,
his friend and advocate,
the art critic John Ruskin,
J.M.W. Turner painted the atmospheric rightly admired the
Chatel Argent and the Val d’Aosta From artist’s ability to suggest
misty atmosphere: “… and
Above Villenueve while on a trip if you yet have no feeling
through the Italian Alps. for the glorious passages
of mingled earth and
heaven which Turner calls
By Jerry N. Weiss up before you into
breathing tangible being,
there is indeed no hope

j oseph Mallord William Turner

(British, 1775-1851) was too
restless a painter to work solely
within the conines of his native
England. Nor was his visual curiosity
Chatel Argent and the Val
d’Aosta From Above Villeneuve
(1836; watercolor and gouache
over graphite, 10⅛x12)
by J.M.W. Turner
for your apathy. Art will
never touch you, nor
nature inform.”

satisied by a particular type of scen-

ery. Turner was geographically
omnivorous; he scoured the water-
ways, countryside, cities and
mountains of Europe for material, In 1836, Turner journeyed through
and he found it seemingly every- the Aosta Valley, a mountainous
where. he location names on his region in northern Italy—and one of
watercolor sketches read like an his favorite places. here he painted
ambitious continental itinerary: Chatel Argent and the Val d’Aosta From
Naples, Venice, Heidelberg, Zurich, Above Villeneuve. Chatel Argent was a
Lucerne, Geneva, Luxembourg, ruined castle that had been built in
Paris, Harleur. the 12th century.
If his travels had a recreational he artist’s response to the terrain
purpose, you wouldn’t know it. engendered atmospheric studies more
Turner cranked out watercolors moving than the tourist snapshots
obsessively and passionately, often and videos that have made the faraway
carrying softbound sketchbooks familiar. A later generation of artists—
that could be rolled up and stowed Monet and Sargent notable among
in his pocket. them—trod similar ground, but no
One of the many themes that one either before or since Turner
fascinated Turner was alpine terrain has transmitted such an enchanting
and the architecture that sprang up view of the European continent,
on those mountainsides. Something always founded on observation
about the placement of stone turrets and swift draftsmanship. WA
and spires amid the diagonal crags
or surmounting great vertical drops Jerry N. Weiss is a contributing writer
deeply resonated with the artist’s to ine art magazines. He teaches at the
romantic nature. Art Students League of New York.

10 Watercolor artist | FEBRUARY 2019

 Turner used several reliable means to suggest Pencil underdrawing was integral to many
spatial recession: color temperature, with the of Turner’s plein air watercolors and can be
warmest hues in the near planes; variation discerned throughout this painting, especially
in edges, with the contours softening in the in the tor, or high craggy hill, from which
distance; and overlapping shapes. The result Chatel Argent rises. Ruskin believed that
is that each successive level of land seems Turner drew on site, and only added
increasingly swathed in a veil of atmosphere. watercolor to his sketches later.
GIFT OF HAROLD K. HOCHSCHILD,
1940/THE METROPOLITAN

The surface of Turner’s watercolors was often complex, In the lower right corner, Turner added
featuring washes, sponging, drybrush and finely hatched the figure of a woman. She balances the
MUSEUM OF ART

strokes. He made free use of both transparent and opaque dominant shape of the castle, helps
paint, blurring the distinction between his watercolor and establish a foreground plane and gives
oil-based paintings. Here, broadly brushed passages scale to the painting. She leans into the
alternate with detailed topographical observations. scene, inviting the viewer to do the same.

ArtistsNetwork.com 11
 Creativity Workshop

I painted Secret Spot (watercolor on

paper, 30x22) in the more traditional
watercolor style—working light to
dark—after I applied waterproof
India ink and let it dry completely.

No More Mid-tone Crisis!

For more powerful and dramatic paintings,
start with a notan study and India ink.
By Joe Cibere

12 Watercolor artist | FEBRUARY 2019

a s a watercolor instructor for
many years, I’ve observed
that some students fall too
easily into what I call the dreaded
“mid-tone crisis”: Once they’ve
painted over a white surface, they
don’t know where to place the darks.
In short, they have a mid-tone mess
on their hands. I’m particularly aware
of this because I’m passionate about
notan, a Japanese concept focused on
the balance between light and dark—
and because I’m a shape and value
painter. I like drama and contrast and
interesting shapes deined by values.
Here’s my super-simple
technique for using a
three-value notan study
and India ink to take
the guesswork out of the
painting process and
produce work with impact.

IN THE INK
After selecting a subject
and locating the light
A
source, I create thumbnails
that help me break down
the scene into a three-value B
notan featuring positive and negative

ABOVE
The black-and-white image
(A) is the original ink painting,
and the full-color detail (B)
shows a section that has been
painted with transparent
watercolor. Paint applied
over dry water-proof India ink
remains stable; depending on
the pigment’s transparency,
the watercolor easily covers
it. This creates beautiful
translucent/transparent
effects. Using this process
will give you the creative
confidence to paint
a more dramatic, exciting
and powerful image.

LEFT
In Water Lily (watercolor
on paper, 22x30), you can
see how using color as a
value creates the illusion
and depth that gives the
piece its visual interest.

ArtistsNetwork.com 13
 Creativity Workshop

shapes. Only then will I begin adding L

LEFT
details to the scene. I like the design
o the black and
of
Watercolor paintings are usually w
white shapes
painted light to dark, but I buck tradi- a to me,
and,
tion. Instead, I paint the dark values that’s the key.
using waterproof India ink and leave T
They serve as
the foundation
the paper white, where desired, to
for what’s to
serve as the light values. his anchors follow. Using a
the painting. All I have left to do is v
variety of
add the mid-tone colors. It’s really just im
im
mplements,
that simple. s
such as different
s
sizes of brushes,
If you want to experiment with a s
sticks or a dry
diferent technique—or if you’re going brush,
b I’m able
through a mid-tone crisis—give this to get quite
easy process a try. e
expressive when
p
painting with
India
In
n ink.
Joe Cibere (joeciberewatercolors.com)
employs abstract realism to integrate
strong design and balance with a sense
of illusion. He’s a workshop instructor BELOW
and a signature member of the National In First Light (watercolor on paper, 22x30), I could have turned the ink-first art (above) into a
Watercolor Society. scene with any weather and light conditions; I chose a scape featuring purple-blues and yellow.

14 Watercolor artist | FEBRUARY 2019

 Drawing is a given. Design is
everything. Failure is just feedback.
My advice to you? Just paint,
and you’ll figure it out.

A three-value notan study

(A) sets the tone, and the
color study (B) serves as
the road map for Central
Park Runner (watercolor
on paper, 30x22). This
process enabled me to
take advantage of the
backlit conditions. The
darks really set the scene
for drama and contrast,
and they also helped me
define the focal point.

ArtistsNetwork.com 15
 Creativity Workshop

A B C D

Once I decide on a scene’s boundaries

and composition using my three-value
notan studies, I create a loose drawing,
ensuring I have a strong focal point.
I then start painting using India ink (A)
to make interesting shapes and to
establish line quality.

Next, I take a digital shot of the finished

ink drawing, create thumbnails on my
computer and print them out. I then
paint several small color studies (B, C
and D), so I can determine my palette
preference. I also try different weather,
light and atmospheric conditions.
Imagine the possibilities!

Using the first color study (B) as the

guide, I painted Hidden Falls (water-
color on paper, 30x22) over the dried
India ink. I liked how I could block in the
large warm and cool shapes and let the
watercolor “paint” itself. The hard work
had been done for me. WA

Try this at home

CREATE A PAINTING
WITH INDIA INK.
Send a JPEG (with a resolution of
72 dpi) of your India ink foundation
and your finished painting to
wcamag@fwmedia.com with
“Creativity Workshop” in the subject
line—or follow @artistsnetwork on
Instagram and share your painting
there: #everywatercolor_indiaink.
The “editor’s choice” will receive a
one-year subscription to Watercolor
Artist. The entry deadline is
February 15, 2019.

16 Watercolor artist | FEBRUARY 2019

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 CALL FOR ENTRIES

acrylicworks 7
Color & Light

Sacramento River #3, Timothy Mulligan Blue Moon, Marsha Zavez

Iris-Messenger of the Gods, Kitty Kelly

INSPIRE WITH COLOR AND LIGHT!

Celebrate your best acrylic artwork by entering it in
AcrylicWorks 7: Color & Light!
Along with a feature in the seventh edition of North
Light Books’ AcrylicWorks, your win could lead to
recognition from your peers and even potential clients.
A variety of subjects and styles are welcome, so
let your creative energy shine on the canvas and
enter today!

Emeralds, Pamela Edevold

Early-Bird Deadline
February 1, 2019
For more information and to enter, visit
artistsnetwork.com/art-competitions/acrylic-works

NORTH LIGHT BOOKS

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Watercolor Essentials

It drizzled on and off while I painted Artramon

House, Ireland (watercolor on paper, 14x16) en
plein air. And, it was windy and chilly. The
purple (French ultramarine and alizarin

Going Gray crimson) and yellow ochre combination, with

the former being more dominant to create the
gray areas, worked well to capture the mood.

Harness the power, or embrace

the subtlety, of this versatile hue
by mixing your own versions
using primary colors.
v ibrant colors don’t sing without neutrals. Light doesn’t
shine without darkness. Large shapes only seem large
when placed next to something smaller. Creating a
harmonious relationship of opposites—bright/neutral, light/
dark, positive/negative—in a painting is a balancing act. I try
to underscore the dynamics of dichotomy by using the yin-
By Keiko Tanabe yang concept that two opposing components are a whole, with
one complementing the other.
Applying this idea to our color choices helps us create more
harmony and impact in our work. For example, a bright color

ArtistsNetwork.com 19
 Watercolor Essentials

Yellow Ochre Shades

of Gray
To mix a basic gray, I use three
primary colors, such as alizarin
Alizarin French crimson for red, yellow ochre
Crimson Ultramarine for yellow and French ultra-
marine for blue. The color
Warmer temperature can be made
Cooler warmer by using more alizarin
crimson or cooler by using
more French ultramarine.
Essentially, this method
is the same as using two
complementary colors (one
primary and one secondary)
to mix gray: red and green,
blue and orange, and yellow
and purple.

Alizarin Crimson French Ultramarine Yellow Ochre

+ + +
Green Orange Purple
(French Ultramarine + (Alizarin Crimson + (French Ultramarine +
Yellow Ochre) Yellow Ochre) Alizarin Crimson)

To capture the arid

landscape of this island
in southern Italy,
I wanted a variety of
warm neutral colors for
Sicilian Landscape I
(watercolor on paper,
13x19). I used a viridian/
alizarin crimson
combination as a base
color of gray. I added
burnt sienna, burnt
umber or yellow ochre to
neutralize it even more.

20 Watercolor artist | FEBRUARY 2019

 Intrigued and inspired by
the soft warm glow in this
sky before sunset, I wanted
orange to permeate
Venice Market II (water-
color on paper, 23x17).
I used Winsor orange
with a hint of cobalt blue
to create a warm gray
throughout the painting.

In my opinion, gray
looks more interesting
when it’s mixed from
other colors. With
this in mind, it’s
important to choose
paints that mix well.
While the number of
ways of creating beau-
tiful grays is endless,
the easiest may be to
mix the three primary
colors—red, yellow
and blue (see “Shades
of Gray,” opposite).
Another option is
to use a pair of com-
plementary colors
(one primary and one
secondary), such as
blue and orange, red
and green, or yellow
and purple.
hese are just
a few of the many
combinations that are
possible, but they’re a
good starting place,
especially since most
of us have these
colors readily available
in our palette.

Keiko Tanabe
(ktanabeineart.com)
is an award-winning
painter, author and
pops when neutrals surround it, while HOW TO MIX GRAYS workshop instructor. She’s a founding
a dash of a cool hue stands out among Learning how to work with gray can member of North American Watercolor
warm hues. Gray can be subtle or breathe more life into our art. But, Artists, a signature member of the
make a strong statement. his color to maintain the transparency of National Watercolor Society, and
isn’t simple, but we can take advan- watercolor, we don’t want to add a member of the American Watercolor
tage of its complexities and evocative white to black to make gray. And, Society and the American Impressionist
quality to create mood and atmo- while they’re lovely colors, using Society, Inc.
sphere in a painting. Here, I’ll explore pre-mixed grays such as Payne’s
the power of gray and explain my gray or Davy’s gray can look lat
paint combinations for mixing and if they’re overused in a painting.
using warm and cool grays. So, what to do? Turn for a demo
ArtistsNetwork.com 21
 demo
Gray
Matters

Step 1 Step 2
After drawing the composition using a 4B pencil, I use diluted As the initial wash dries, I quickly add even darker
yellow to apply an initial wash for the middle of the street. I then values of grays—comprised of burnt umber and
surround it with slightly darker values of warmer, muted colors French ultramarine—on both sides of the street.
comprised of alizarin crimson, cobalt blue and burnt sienna.

Step 3 Step 4
I paint the sky and upper part of the buildings using I place cobalt turquoise above the buildings on the
light tones of warm yellow ochre and alizarin crimson, left side to cool the color temperature slightly.
keeping colors blended here and there, but clean.

Watch Keiko Tanabe paint this

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sponsored by Savoir-Faire:
bit.ly/TanabeWatercolorDemo.

22 Watercolor artist | FEBRUARY 2019

 Toolkit
PAINTS:
• Sennelier French
Artists’ Watercolor:
French ultramarine
blue, cobalt blue,
alizarin crimson, bright
red, lemon yellow,
yellow ochre, burnt
sienna, burnt umber,
turquoise green

FEATURED BRUSHES:
• Raphaël SoftAqua
No. 6, Raphaël kolinsky
Series 8404, No. 14

Step 5
I mix a neutral gray using cobalt blue, alizarin crimson and yellow
ochre to paint some clouds and the distant background.

Step 6
To define important shapes and create contrast, I mix a strong, dark
gray using French ultramarine, alizarin crimson and burnt umber.

ArtistsNetwork.com 23
 demo
Gray
Matters Step 7
I add small details and another
big wash of slightly cooler gray
on the lower-right corner to unify
and balance the painting.

Final
To add more interest and realism to Kyoto at Dusk (watercolor on paper, 14x20), I add small dots
of bright red, cobalt turquoise and lemon yellow to indicate traffic lights and headlights. WA

24 Watercolor artist | FEBRUARY 2019

THE FOUR ELEMENTS OF WATERCOLOR
SENNELIER WATERCOLORS FABRIANO ARTISTICO
SINCE 1887 SINCE 1264

RAPHAËL BRUSHES CRETACOLOR PENCILS

SINCE 1793 SINCE 1790

WWW.SAVOIRFAIRE.COM
 Burning Question

What will you do

that’s new or different
in the coming year to
advance an art goal?

Paint From Life

Z.L. FENG: I’ll continue exploring my
passion for painting in watercolor by
using live models, painting directly
from life without the use of photos. In
my landscapes, I’ll do my painting en
plein air, or from memory and my
own imagination, to create a new
watercolor. I’d also like to study the
various styles of early masters of
Chinese ink painting and see how
To paint or draw daily is my
they might influence my work.
“
primary goal. Setting aside ‘playtime’
a few weeks a year is another.
Execute a Plan
LAURIN MCCRACKEN: Last year
—KATHLEEN CONOVER ”
I wrote my first business plan. In it,
I determined how much I want to earn
from my paintings. I then researched
Tell a Story
the galleries that could help me get
there. My goal for 2019 is to execute
With Power
that business plan. To do so, I’m ANTONIO MASI: I’ve been commissioned to do a
PHOTO BY MELISSA GOODWIN/GETTY IMAGES

expanding the portfolio of certain book about immigration to America. Being primarily
paintings I think those galleries will an urban structural painter, I look forward to
favor. It’s all part of an ongoing goal integrating the figure more into my work. I’m also
to find new and challenging subjects anticipating the inclusion of the iconic Ellis Island and
to paint. To continue to grow, I believe Statue of Liberty and their symbolic importance to
I must continually learn, modify and the people who left their home countries to begin
change my art. again in America.

26 Watercolor artist | FEBRUARY 2019

 Team Up
KATHERINE CHANG LIU: In 2017, having
been working with galleries all of my art life
(since 1978), I wanted to take a time-out. As
sales were no longer my most important
goal, I wanted to do something else. When
I first started out in Roanoke, Va., three very
accomplished women artists—Vera
Dickerson, Joni Pienkowski and Nancy
Dalstrom—asked me if I’d like to join their
group. As a team, on the merit of their
established careers, we were able to get
funding not only from the Virginia
Commission of Arts and Humanities, but
also from the National Endowment for the
Arts. For those grants, we worked together
toward the goal of a traveling exhibition,
and we had so much fun along the way.
I learned so much from them.
Now, 40 years later, I’d like to
participate again in a team effort to
exhibit—and have some fun along the
way. So, in 2019, I’ll be involved in two
Find Balance such efforts. The first is with my longtime
friend, Hiroko Yoshimoto, to work as a
KATHLEEN CONOVER “Balance” is the “collective” under one theme. There may
code word for my artistic goal-setting. even be pieces on which we work
The “administrivia” of being a together. We’ve already been meeting
professional artist—teaching, gallery for lunch, as we live only 35 minutes
ownership, exhibition and competition apart. We’ve had a great time working
entry, etc.—can bulldoze over all and planning this exhibit, aiming for an
creative energy, if not checked. To opening in 2020.
paint or draw daily is my primary goal. Another project I’m doing involves six
Setting aside “playtime” a few weeks a other abstract painters. These are
year is another. This year’s playtime artists from across the country, several
goal is to go large—to get out the of whom have done work I’ve long
acrylics and work on large, dynamic admired. Our goal is to exhibit together
non-objective compositions. To make in museum venues. So far, we’re still in
way for these objectives, one of my the formation stage, but we already
business goals this past year was to have a website: abstraction21c.com.
hire a bit of help—a young techie—and The next step for this will be critical
she has been doing a great job. reviews and exhibition catalogs.

ArtistsNetwork.com 27
 THE YEAR’S BEST
PAINTINGS WATERCOLOR SOCIETIES FROM AROUND NORTH AMERICA
COME TOGETHER TO PRESENT THE BEST PAINTINGS OF 2018.
By McKenzie Graham

T
he elements of a standout painting are sometimes elusive. What’s
puzzling to one person might be enlightening to another. his lay-
ering of meaning is part of what makes looking at artwork such an
individual experience, and it’s part of why each year’s grouping of
the best paintings is unique from every other year’s. In this batch
we have abstract, igurative, landscape and still life; we have joyful
color and muted palettes; we have small- and large-scale works.
Altogether, we have 21 paintings that evoke that gorgeous palimp-
sest of emotions so indicative of the best art.

Transparent Watercolor “My inspiration for this painting was my “Zhang’s painting is filled
Society of America mom. I traveled to Hong Kong in 2014 to the brim with interest-
and saw an old lady when I was strolling
Xiaochang Zhang down the market. At the time, I was ing detail. Every inch of
San Ramon, Calif. deeply impacted by that scene. For the surface is fascinating.
Mother—Hong Kong a moment, I thought I was seeing my While this sounds posi-
(watercolor on paper, 40x30) mother again. My mother passed away
when I was young. She was busy and tive, it can also be the
had to take care of the family. There downfall of a finished
were too many stresses on her, so she work. Too much informa-
suffered from illness in her later years.
This piece represents my yearning for tion can lead to visual
her. I’ve seen so many mothers spend chaos, but by carefully
their entire lives with their children. The prioritizing the surface,
old woman I saw in Hong Kong was defi- leading the eye from the
nitely one of them.
“I used high-contrast color to indicate least to the most import-
my strong emotional response. If I ant aspects, Zhang
would’ve used only low-saturation colors, avoids that pitfall and
then it wouldn’t visually astonish audi-
ences; therefore, I exaggerated the color leads us into an exotic
contrast and value differences. The stable slice of Hong Kong life.”
composition is created by a triangular — JOHN SALMINEN, JUROR
shape of the three primary figures.”

28 Watercolor artist | FEBRUARY 2019

 Wyoming
Watercolor
Society
Cindy Brabec-King
Palisade, Colo.
Pantry Scraps
(watercolor on paper,
22x30)

Western
Federation of
Watercolor
Societies
Bill Dale
Arlington, Texas
Deanna
(watercolor on paper,
15x21)

30 Watercolor artist | FEBRUARY 2019

 American “While wandering Rome with my family, a long line outside an “I was impressed by
Watercolor impressive building caught my attention. It was for an exhibi- the high level of tech-
tion of two of my favorite artists: Vermeer and Rembrandt.
Society I would’ve loved to have seen this exhibit, but I was sure that nical skill and detail
Anne McCartney my family wouldn’t relish the idea of yet another museum or rendered in Art for
Edmonton, art gallery, so all I was able to capture of the moment was a Art’s Sake. The
Alberta, Canada photo. The thought of creating art about people enjoying art
seemed important to me. embellishment of
Art for Art’s Sake “I wanted the entrance to the museum to be my point of warm and cool colors
(watercolor on interest—the place at which the art lovers would begin their
paper, 15x30)
drew me in and
appreciation. There are lots of design elements used to make
this focal area work—strong contrast and heightened detail made me look care-
being two of them. I love burnt sienna and MaimeriBlu’s perma- fully at the figures.
nent violet reddish. I also use a wide variety of blues and reds, I can sense their
mostly Daniel Smith products. I love these paints for the granu- excitement about
lating properties, which you can see on the weathered façade
of the building. viewing a major
“When I first started painting 15 years ago, I wasn’t quite exhibition. The barely
sure where it would take me. I certainly never dreamed it would suggested figures and
be to New York City to receive one of the most prestigious
awards for watercolor. I love participating in competitions and dark values on the
the many international exhibitions that I do. It’s wonderful to left give the piece a
connect with artists from around the world who love water- sense of mystery and
color as much as I do. I’ll continue to do this, and hope to
broaden my circle in Europe and Asia.” intrigue. It’s a truly
wonderful and
unique painting.”
JUROR TIP: “Don’t pay much heed to the painting style of a com- —ROBERT O’BRIEN, JUROR
petition or show juror. The juror is choosing work for a show and
will look for a diversity of styles. Also, enter your best work. If you
personally like the piece, chances are the juror will too. Judges look
for work that makes a statement and has good visual impact.”
—ROBERT O’BRIEN

ArtistsNetwork.com 31
 Pennsylvania “I’ve always loved city street scenes with buildings “I can imagine Lacy’s
Watercolor and people hurrying around. When I was visiting Rainy Day in Vancouver
Vancouver and saw this scene from the window of
Society a car, I was struck by the contrast of backlit people hanging in my own
Angela Lacy crossing the street with the gray sky. It shows just living room, which is an
Rockville, Md. a hint of sun coming out on a gloomy, rainy day. easy way to choose
“Using a restricted palette of primary colors, I pour
Rainy Day in Vancouver layers of transparent watercolor to slowly build varia- award contenders. It
(watercolor on paper, tions in hue and value as I develop compositions may sound subjective,
14x19½) focused on light and dark. I use a limited palette but personal taste is
because I can create unity and balance by only using
primary colors. I like the simplicity of it. I vary my pri- important. If this paint-
mary colors depending on the subject matter. ing were hung on my
“I’m a value painter rather than a colorist, so I enjoy wall, I’d enjoy viewing
the pouring technique. It allows me the freedom to it every day. ”
build up color values in a natural way. I improvise when
pouring and tilting the paper to allow the paints to —RON THURSTON, JUROR
mingle and blend. My process requires careful appli-
cation of masking fluid to preserve the lightest areas.”

JUROR TIP: “My recommendation for entering a national

show would be to just try having fun for a change. If you
paint art with love, love may look back at you—and
maybe win you an award.”
—RON THURSTON

32 Watercolor artist | FEBRUARY 2019

Watercolor
West
Robin Erickson
Fallbrook, Calif.
North Beach Café
(watercolor on paper, 37x24)

Ohio
Watercolor
Society
Susan Kiedio
Parma Heights, Ohio
The Ring
(watercolor on paper, 16x12)

Virginia
Watercolor
Society
Vera Dickerson
Troutville, Va.
My Lovely Parrot Head
(acrylic and watercolor
pencil on YUPO, 26x20)

ArtistsNetwork.com 33
 Louisiana
Watercolor
Society
Dongfeng Li
Morehead, Ky.
Lunchtime (watercolor
on paper, 34x26)

“My inspiration for

Lunchtime was the
coal miner—the hard-
est worker in the
United States—and
the gray dust gleam-
ing in the sun. Gray
is one of my favorite
palette colors, and
I like mixing it with
blue and green.
“I received a
Morehead State
University research
grant back in 2012
and painted the
people in the area
of Eastern Kentucky,
which included coal
miners. I like paint-
ing people in the
same professions
but spanning differ-
ent countries, as I’ve
done with miners.
“It’s a great honor
to win this award,
both for my water-
color research and
creative explorations.
I want to continue
creating more of my
favorite subjects,
and hopefully they’ll
be accepted by
audiences and
jurors alike.”

JUROR TIP: “Send

work that represents
your heartfelt best.
Then, once a paint-
ing makes an
appearance, retire it.
Resist the tempta-
tion to re-enter
work. Instead, go
back into the studio
to make another
“Li’s painting is a beautiful example of the perfect blend of both form and con- great painting.”
tent. The quality of the mark on the page gives the piece a wonderful surface, —JOHN SALMINEN
while the gesture and expression of the figure present an unflinching look at the
nature of hard work. While the execution is painterly, the story is documentary.”
— JOHN SALMINEN, JUROR

34 Watercolor artist | FEBRUARY 2019

Utah Watercolor Society
Kristi Grussendorf
North Logan, Utah
What a Girl Wants
(watercolor on paper, 10x23)

Watercolor
Art
Society—
Houston
Carla Gaultier
Houston, Texas
Interstate 94
(watercolor on
paper, 14x23)

ArtistsNetwork.com 35
 Florida
Watercolor
Society
Dean Mitchell
Tampa, Fla.
Shanghai Alley
(watercolor on paper,
15x10)

BELOW LEFT
California
Watercolor
Association
Geoffrey McCormack
Eugene, Ore.
Learning to Walk
in My Own Shadow
(watercolor on paper,
30x36)

BELOW RIGHT
Springfield
Art Museum
Kathleen Giles
Gasport, N.Y.
Queen of Hearts
(watercolor on paper,
25½x35)

36 Watercolor artist | FEBRUARY 2019

 National Watercolor
Society
Julio Jorge
Alentejo, Portugal
Mario (watercolor on paper, 21x22)

“As a child, I found pleasure in

sitting in front of the fire on cold
winter evenings, after dinner,
listening to my grandfather’s
stories. I was mesmerized by his
beautiful tired, wrinkled face.
That fascination for wrinkles
and the stories they contain
stayed with me.
“I’ve spent my life in Alentejo,
a predominantly rural region in
Portugal. Most of the population
is elderly, so inspiration prolifer-
ates. Mario [88 years old] is part
of a project I started in 2012,
which aims to draw the atten-
tion of people with political and
social responsibilities to the
loneliness and poverty in which
most of the elderly live in my
country. And so I continue to
paint more Marios.
“I paint while the paper is still
damp, using small strokes and
allowing the colors to merge. For
Mario, I decided not to introduce
elements that could distract
from what I consider important
here: the expression of the face.
I usually give special attention
and relief to the eyes, because
“What attracted me to Mario is the way in which it the eyes are the mirrors of the
soul, cliché or not.
challenges the conventional notions of artistic beauty. While “The fact that my work was
not ‘beautiful’ in the traditional sense, Jorge exploited the selected for the NWS 98th
medium’s full potential to create an uncompromising hyper- International Open Exhibition
was already a reward, but when
realistic representation of the sitter’s appearance. As a study Penny Hill phoned me to say that
of the ravages of time, Mario’s face emerges from the paper I’d won a prize, I didn’t even
support like an apparition—a dappled arrangement of want to believe her. I was
speechless and felt like I was in
subtle color graduations that transform his closely scruti- the clouds. It was fantastic and
nized features into a beautiful study of form, color and very emotional. The award rep-
texture. Although Jorge’s tightly controlled representation resents an incentive for me to
continue my work.”
of the face is barely distinguishable as watercolor, his
rendering of the lower neck and collar confirm he’s working
in the medium of which he’s a master.” JUROR TIP: “When judging a
—D. SCOTT ATKINSON, JUROR watercolor competition, I’m look-
ing for those characteristics that
demonstrate both an understand-
ing and command of the medium.
As demonstrated by Jorge’s Mario,
a superlative watercolor not only
tests the artist’s skill, but stretches
the limit of the medium itself.”
—D. SCOTT ATKINSON

ArtistsNetwork.com 37
 “Hopefully Helping Haiti is one of those paintings that grabs your attention from the
first glance. Not only does it have a strong composition with large areas of moody
darks and interesting detail, but the front-and-center figure is a convincingly
painted and very compelling portrait. I knew there was a story there. It’s a winner!”
—KATHLEEN CONOVER, JUROR

38 Watercolor artist | FEBRUARY 2019

LEFT
Baltimore
Watercolor
Society
Larry Lombardo
Lebanon, Pa.
Hopefully Helping Haiti
(watercolor on paper, 24x20½)

“When I was 45, I joined

a group from our church
going to Haiti. One day
while there, I noticed a
girl staring at us from
a distance. I took my
camera out to capture
her face; I never wanted
to forget it.
“The idea and con-
cept for this painting
took a month. I wanted
to show the typical
Haitian home, and the
paint running at the bot-
tom is symbolic of the
distress and physical
state of the country. The
only true whites in the
piece are in the subject.
I wanted her to look
three-dimensional.
“I was able to go back
to Haiti this past sum-
mer and even found my
subject, Clairment. She
brought her twin sister,
and I was so excited to
see them happy and
healthy. The back-
ground subjects are
others I met who left an Canadian
impression on me. My
wife and I continue to Society of
build these relationships Painters in
to this day.”
Watercolor
David McEown
Vancouver, B.C.
JUROR TIP: “The most
important piece of advice Surfacing
(watercolor on paper,
for artists entering com- 30x22)
petitions is to create a
strong composition that
can be spotted from
across the room. I even
teach the rule that
‘composition is king,’
although, I must admit, Colorado
emotional content is the Watercolor
‘queen of hearts,’ and she Society
still rules the palace.”
—KATHLEEN CONOVER
Nancy Priest
Denver, Colo.
White Quartz Canyon
(acrylic on paper, 30x22)

ArtistsNetwork.com 39
 Georgia Watercolor
Society
John Salminen
Duluth, Minn.
El Series No. 2, Chicago
(watercolor on paper, 36x36)

“I began my formal training as

an abstract expressionist, and
abstraction is still essential to
my work. I find cityscapes to be
a rich source of interesting
geometric shapes that lend
themselves to the creation of
an abstract underpainting.
“In El Series No. 2, Chicago,
I started the painting with no
particular subject in mind. As the
painting progressed, I introduced
some slightly recognizable forms:
girders, cables and suggestions of
an overall structure. At this point,
I let the painting choose a direc-
tion, and my intuitive love of the
elevated train directed me to that
familiar subject. The last additions
were the figures, added for scale,
and, finally, the speeding train,
complete with blurred rail lights.
“My colors are complementary
blends. I find that limiting color
helps me concentrate on value.
As the piece develops and my pal-
“A strong abstract understructure is essential to a strong ette gets dirtier, the resulting
painting, whether or not the finished painting is representa- ‘mud’ becomes a great vehicle for
tional. Salminen’s painting is unquestionably a superb abstract creating rich grays. The final
addition is the inclusion of small
painting, but includes that little bit of reality we all enjoy.” bits of pure intense color to serve
—KATHLEEN CONOVER, JUROR as accents.”

Northwest
Watercolor
Society
Matthew Bird
Sykesville, Md.
Not Interested
(watercolor on paper,
22x30)

40 Watercolor artist | FEBRUARY 2019

 View Arts
Chris Krupinski
Hurricane, W.Va.
Lemons, Grapes and Pitcher
(watercolor on paper, 30x22)

“My motivation for each

painting is the design
created by the elements,
folds, lights and darks.
I look for a lot of
contrasts—sizes, values,
shapes and color
temperature. I also look
for rhythm, repeating
shapes and the rhythm of
the fabric in the back-
ground to keep the
composition in motion.
“One of the first things
I think about before
painting is the color pal-
ette. I generally use a very
limited palette. Many
times I use a complemen-
tary theme, but with this
painting, it was analo-
gous color. I knew I
wanted to use the pitcher,
so that was my point of
departure for the palette.
“The bottom line is that
I love to paint and create.
I’ve had a very successful
graphic design business
over the years, but I’m
slowly giving that up.
I want to spend more time
with my art. It’s a wonder-
ful path that’s led me to
where I am, and I’ll paint
hard and continue to
walk this road.” WA

JUROR TIP: “In any art

competition, there will be
works that stand out
immediately to the juror
after the initial walk-
through. Those usually end
“On my visit to Old Forge to serve as juror of awards for View Art’s up winning the top
Adirondacks National Exhibition of American Watercolors, I was awards. Painting a piece
confronted by the always daunting task of selecting the top award. that has impact, whether
Krupinski’s painting, Lemons, Grapes and Pitcher, made that task a bit through striking composi-
tion, dramatic lighting or
easier. She not only created a beautiful composition coupled with an out- an unusual subject, will
standing rendition of light and shadow, but she captured those equally increase the odds of end-
difficult qualities: that of moisture on those luscious grapes and a sense ing up with an award.”
of crispness. She made you really want to pick one off and pop it in your —DOUGLAS WILTRAUT
mouth. It’s an excellent example of what can be done with the watercolor
medium in the hands of an exceptionally skilled artist.”
—DOUGLAS WILTRAUT, JUROR

ArtistsNetwork.com 41
Painting Under the
Tuscan Sun
NO
N O SSURPRISE,
URPRISE TTHERE
H E REE ’ S
PLENTY TO LEARN AND
PLENTY TO ENJOY DURING
A WEEK OF PAINTING IN
THE ITALIAN COUNTRYSIDE.
By Anne Hevener
 L
ocated on a nature reserve amid the rolling hills of Tuscany in central Italy sits Tenuta
di Spannocchia, a 1,100-acre organic farm and guest house. This is the site where, last
September, 18 painters gathered for the “Retreat to Tuscany,” a week-long painting
workshop, presented by ArtistsNetwork.com. The verdant hills, dotted with ancient
cypress, the olive groves and vineyards, the farm’s charming villa and outbuildings, all made
for magical vistas. But the main attraction for these artist-travelers was the opportunity to learn
and paint with celebrated watercolor artist Thomas W Schaller.

On a typical day, Schaller would

demonstrate his techniques in
the morning and afternoon, and
also provide one-on-one
assistance. Participant Candace
Stephens loved hearing Schaller
explain his thought process
while he painted. “One thing
I learned is the importance of the
movement of light throughout
a painting,” she says.
ALL PHOTOGRAPHY BY STEPHANIE ADAMS WOOD.

After demonstrations with

Schaller, painters were given
time to work alone at a site of
their choosing. “It’s easy to be
inspired in Tuscany because
everything is beautiful,” says
participant Margaret Park.
“You don’t have to look for
something to paint; just open
your eyes and there it is.”

ArtistsNetwork.com 43
Tips &
Takeaways
We asked attendees to
share some of the most
helpful insights they learned
from this week of instruction
and inspiration.
• Use complements to help
liven up shadows. This was
an eye opener!
— Katherine McGah
• Find the light. And then play
with it through watercolor.
— Janet Weir
• Put gravity to work. I never
considered painting
watercolor with my paper
tilted vertically, although I’ve
seen others do it. Tom’s
statement was ‘Gravity is your
friend.’ I found it to be so true.
— Margaret Park
• Find meaning. And that will The buildings and grounds at
Spannocchia supplied plenty
lead me to find my “voice” of inspiration for Schaller and
with which to express on my workshop attendees.
canvas what I see and feel.
— Janet Weir “I loved the way the different
• First, decide what’s most parts of the landscape glowed
important. Plein air can be at different times of day,” says
difficult. There’s just so much Katherine McGah. “In the early
out there to choose from! Tom mornings, the fog was the primary
show; during the day, the shadows
showed us how to decide on the buildings and lawns; in the
what’s important and then evenings, the sunsets cast a
build the painting around that beautiful light on everything.”
in such a way that everything
else complements it. “My favorite thing about
— Margaret Park painting in Tuscany was the
• Bring attention to the focal interplay between the ancient
point. I learned how I can use walls and the various greens in
the scenery,” says Karen Petras.
a contrast in values to high-
light a painting’s focal point. For Janet Weir, the beautiful
— Candace Stephens Tuscan landscape was “a daily
• Use the white of the paper. palette of inspiration,” but the
Tom stressed that the white of environment catered to other
the paper is the source of light senses as well. “There were
within the painting and then also the sounds [my morning
showed us how to use that rooster call] and the Italian
cuisine,” she says.
fact. He demonstrated how to
place complementary colors “Painting in Tuscany is like
throughout the painting so painting from inside a painting,”
that they bleed into one says Margaret Park. “Everywhere
another, creating visual you look, there’s something
interest, depth and beautiful beautiful—from the ancient stone
neutrals. buildings with trailing grapevines
— Margaret Park to the tall, dark cypress trees
against the distant hills.”
 You may have the universe, if I may have Italy.
“ ” — GIUSEPPE VERDI

GRAZIE!
We’re very grateful to
the following art
manufacturers and
retailers for their
material donations for
the Tuscany Retreat
participants. Your art
products added
greatly to the
excitement of the
ArtistNetwork’s
“Retreat to Tuscany.”
• Maimeri (maimeri.it)
professional
watercolors
• Blick Art Materials
(dickblick.com)
canvas backpacks
• Stillman & Birn
(stillmanandbirn.com)
mixed-media
sketchbooks
• Fabriano (fabriano.
com) Artistico
watercolor paper
• General Pencil
Company, Inc.
(generalpencil.com)
drawing pencils
and erasers

We’d also like to thank

Silvia Pigozzo,
Spannocchia program
director, and all the
other wonderful people
at the property. And, of
course, a big thank you
to Thomas W Schaller
for sharing his time
and talents. WA
 Ancient &
MODERN
ROME-BASED ARTIST WENDY ARTIN RELIES ON HER EXPERT
EYE, FEATHERWEIGHT TOUCH AND A TRUST IN WATERCOLOR
TO INFUSE HER SUBJECT MATTER WITH LIFE AND LUMINOSITY.
By John A. Parks

ABOVE
Via dei Fori Imperiali
(watercolor on jute paper, 11x20)

OPPOSITE
Muhammad Ali, John and Yoko
(watercolor on paper, 41x26)

46 Watercolor artist | FEBRUARY 2019

 W
endy Artin paints with a miraculous balance of Her cityscapes fall into two main
lucid observation, sensitive touch and energetic categories: topographical studies in
handling of watercolor. Working primarily in monochrome that can include intense
Rome, she manages to convey all the splendors observation of architecture, and full-
of sun on ancient stone; the delicate detail of color closeup paintings of walls
tiled roofs, weathered columns and domes; and festooned with graiti and posters.
the majesty of parasol pines. She accomplishes Unlike the igure studies, these paint-
this by using watercolor in its most glorious ings often delight in a wealth of
form: fresh brushstrokes, blooms, loods, puddles and blends that somehow information and a rich serving of detail.
combine to re-create a compelling light-illed world. Meanwhile, the artist’s paintings of
sculpture fall somewhere in between.
More completely described than her
INTELLIGENT EYE & FLUID HANDLING igural work, they retain a similar
Beyond her cityscapes, Artin brings a combination of intelligent eye and luid clarity of form and a sense of purity.
handling to a variety of subject matter—igures, statues, walls, cars, columns All of Artin’s works project a com-
and more. Often working in long series, she inds that each subject elicits a some- prehensive and present sense of light,
what diferent response. She paints igures minimally, with deftly chosen tones and a pervasive luminosity that
and dissolving edges that allow the image to emerge from the white of the paper. derives from a deep understanding of
how light falls on form and plays in
the air and among the dust to create
an enveloping atmosphere and mood.

WHEN IN ROME
After 25 years in Rome, Artin paints
the city with all the advantages of
intimacy and familiarity. She’s deeply
cognizant of the history of art and
names a slew of masters as inluences,
ranging from Phidias to Sargent,
Michelangelo to Emil Nolde. But her
response to the city is fresh, direct
and undeniably lyrical. “My paintings
of Rome are about light and form and
watercolor,” she says. “hey’re about
the way the Mediterranean ills the air
so much with light that the shadows
become transparent and crisp, like a
watercolor puddle. hey’re about the
sun sliding across the façade of a ruin,
squeezing the shadows till they sud-
denly switch to the other side. hey’re

CLOCKWISE
FROM LEFT
Putto (watercolor
on paper, 11½x9½)

Small Arches Villa

Adriana (watercolor
on paper, 5x7)

Ganges (charcoal
on paper, 43x43)

48 Watercolor artist | FEBRUARY 2019

about the beautiful rows of columns
in a rounded arc, each with its own
shadow; about the domes with their
delicate details; about the parasol
pines, so dark and velvety; about how
the paint, if you put it onto the puddle
at the right time, will go just where it’s
meant to go before the Roman sun
evaporates its movement midstream.”
his unabashedly poetic engage-
ment with the city can be seen in Via
dei Fori Imperiali (on page 46). Here a
trio of Rome’s famous parasol pines
stands in the foreground, ofsetting a
view of a church in front of a group of
ancient columns. he acuity of the
artist’s vision is at work in her render-
ing of the details of roof tiles and the
delicate ribs of the dome of the
church. hese are set against much
looser painting in the foreground trees
and broad shadows of the buildings.
he rich forms of the tree foliage are
conjured from blooms and puddles of
paint; much of the foreground simply
dissolves into an expanse of white

ArtistsNetwork.com 49
 paper. It’s a perfect balance between MARKS & ILLUSIONS and fast also provides an opportunity
the power of suggestion and the To achieve a balance between exacti- to make some special magic.
delight of precision. tude and the more suggestive “I like for the marks on the paper
“What I really most want with a qualities of watercolor, Artin usually almost to compete with the illusion
cityscape is for it to capture the makes a number of small preparatory that’s created,” Artin says, “so that
essence of the place—the light and sketches before launching into a you’re always on the edge of that
the form—in a way that’s precise painting. hey help her establish the moment of recognition, which I ind
enough for it to look exactly right, composition and basic proportions, exciting. You go back and forth
but also loose enough to please me giving her an early sense of how the between ‘now it’s a shape of a water-
tactilely,” says the artist. image will read. But working small color puddle; now it’s a dome; now it’s
just a wash of sepia watercolor; now
it’s a row of treetops.’ ”
“I LOVE THE WEIRD, RANDOM COMBINATIONS OF
his condition of paint marks tee-
IMAGES AND WORDS THAT CAN FLOW TOGETHER tering on the brink of recognition as
LIKE AN ABSTRACT SYMBOLIST POEM.” objects is apparent in Putto (on page 48),

50 Watercolor artist | FEBRUARY 2019

RIGHT
It Even Matter
(watercolor on paper, 41x26)

OPPOSITE
Yellow Locksmith
(watercolor on paper, 14x17)

a sketch done in the Piazza Navona

under a blazing sun. Energetic brush-
marks are joined with blooms and
spatters in a way that suggests the
young body is just now materializing,
a gloriously playful tension between
chaos and order.
In Small Arches Villa Adriana (on
page 49), a single area of loose brush-
work represents the deep shadow
and contained volume of the ruinous
archway, while the exterior walls are
achieved using just a few swaths of
thin wash.
After completing her preparatory
sketches, Artin selects a larger paper
size and begins her work. “I usually do
a few light guiding lines, or something
like a gesture line of the shape, and
then dive in,” she says. his initial line
is done using a soft brush line, not pen-
cil. “If I started with a pencil line, then
I’d get too involved with the drawing.”
She establishes the major propor-
tions, seeking out squares and
rectangles, and comparing heights
and column widths. “I’m not
extremely precise,” Artin says.
“I improvise and have to admit that
the inal composition isn’t often
exactly what I thought it would be,
but that’s OK, since the marks are
somewhat unpredictable, too, if each person. I love that cities belong Toolkit
they’re loose enough to be interest- to so many diferent people, and that PAINTS
ing. I usually can work for two to so many diferent lives intertwine • primarily Winsor & Newton,
three hours before the light changes and intersect in so many diferent but also Sennelier, Schmincke,
so much that it’s impossible to con- ways, and yet there are always the Holbein, M. Graham and
tinue. If the weather holds, I return same references. he statues are so Daniel Smith
to the same spot the next day and accessible—such large ‘people’ popu-
SURFACE
beyond until I complete the painting.” lating the piazzas, the façades, the
bridges, totally absorbed in their role. • Canson Mi-Teintes, Rives BFK,
Personally, I can’t help but see them as Arches watercolor, Khadi,
STATUES AS FRIENDS alive, yet, at the same time, surpris- Fabriano Roma “… and a few
Artin’s paintings and drawings of ingly and reliably immobile.” other terrific watercolor papers
statues are natural extensions of her When drawing or painting statues, from Amalfi,” Artin says.
cityscapes. “Just as the cities are every- Artin takes on the challenges of BRUSHES
one’s cities, statues are everyone’s rendering complex form in space. • Escoda. “I’ve never tried a
statues,” she says. “hey’re like each In Ganges (on page 49), she deploys brush by Escoda that wasn’t
person’s friend in a city—friends who a broad charcoal attack to create a marvelous.”
represent and express something for variety of line and tonal qualities.

ArtistsNetwork.com 51
 ABOVE
Shield and Mane
(watercolor on paper, 41x49)
he drawing intensiies in the head with its subject. But in this case, we
and the hands while falling away in the sense the strength of Artin’s engage- RIGHT
Watching Wall
drapery. he artist uses an eraser to ment with the ancient work; the (watercolor on paper, 11x15)
pull out the lights in the forms, which power of her observation spurs us to
increases their power and contributes look more closely ourselves.
to the general sense of strength and
clarity that pervade the piece. some people thought was so important
Artin’s fascination with statues led ON THE WALL that it had to be made public. I love the
her to paint a series of watercolors of Artin’s paintings of walls have a com- weird, random combinations of images
the Parthenon frieze, depicting sec- pletely diferent feel. Entirely frontal and words that can low together like
tions from both the British Museum and painted in color, they present an abstract symbolist poem.”
collection and the Acropolis Museum, the viewer with a closeup account of In these works, Artin captures the
in Athens. In Shield and Mane (above), a surface. We’re invited to contem- texture and substance of masonry,
she captures the glories of the sculp- plate the accumulation of popular piping, grills, meshes and any other
ture with its dynamic movement and posters, signage and graiti in a furnishings that appear on the wall.
ine detail still evident among the variety of cities, including New York, he subjects also present some techni-
chipped and fractured stone. Paris, London and Rome. “I love the cal challenges, including rendering
here’s always a risk in rendering way the walls describe daily life in a the characteristics of other media,
another work of art, a chance that the city: storefront grates, tattered signs, such as spray paint, stenciling and
new piece will be compared unfavorably graiti,” says Artin. “hey show what ofset printing.

52 Watercolor artist | FEBRUARY 2019

On Edge(s)
The airy quality of Artin’s cityscapes and landscapes
is a result, in part, of the variety of edges that she
maintains in a single piece. “If you’re working in
monochromatic watercolor, there just aren’t that many
elements that you’re controlling, but edges are one of
them,” she says. “I love edges—soft edges; edges with a
bit of blossom; crisp, watery edges; and ragged edges.
Different parts of the brush, and different brushes, make
radically different edges.”
The main challenge, of course, is determining which
edges will be soft and which will be hard. “My basic rule
of thumb is that you follow what you see in front of you,”
the artist says. “Where you see a crisp line, you want a
crisp edge. Where you see a fuzzy line, you want to
blend. If working wet-on-dry, the edge will be crisp. If
working wet-into-wet, it will be soft. To get soft edges,
I either wet the paper beforehand to work wet-into-wet,
or I blend the wet-on-dry edge of the watercolor mark
with a damp brush.”

Pines (watercolor on paper, 17x15)

ArtistsNetwork.com 53
 In Muhammad Ali, John and Yoko Although Artin generally concen- A similar set of forces is in play in
(on page 47), the artist depicts a trates on conveying the world as Watching Wall (on page 53), a corner
doorway in New York City in which she inds it, she occasionally makes of New York City’s Soho district,
posters and graiti cling to metal and adjustments for poetic or aesthetic where graiti and torn posters appear
wood panels. he “Active Doorway” reasons. In this painting, she on a roughly textured surface. he
sign provides an urgent reminder removed a picture of a rapper, artist has taken on the further com-
that the entry does actually function. replacing it with that of the boxing plication of a green hydrant, whose
he accretion of posters has left a legend. hroughout the painting, angled neck features a pair of plugs
partial view of John Lennon and there’s an excitement in the tension that form a sort of eerie robotic face.
Yoko Ono, as well as a peculiar three- between the care and sensitivity of Other pairs of eyes seem to emerge
legged soccer ball and a picture of the rendering and the rough crudity from the posters and graiti. he
Muhammad Ali. of the subject. three-dimensional interpretation of
the hydrant is impeccable, and
while the work is far from
being a trompe l’oeil painting,
it sets up a surprisingly taut
sense of space.
While the New York City
paintings have something of
the hard energy of that locale,
Artin’s paintings of Roman
walls take on a warmer quality.
Pink Roman Wall (at left) show-
cases a series of old grills, signs
and ittings set in a strangely
improbable arrangement on a
roughly painted stucco wall.
he tiny plaque above the
house number is a relief of the
famous wolf sculpture that’s
the emblem of the city. A
tenderness in the painting
matches the richly attractive
hodge-podge of the wall itself,
as if Artin is conspiring with
the city in its endless ability
to serve up objects and places
of beauty.

AN ODE TO
VISUAL JOY
hroughout all of Artin’s work,
we sense a strong desire to
share moments of insight, the
pleasure of simply being in cer-
tain places and the sheer joy of

CLOCKWISE
FROM LEFT
Pink Roman Wall
(watercolor on paper, 13x10)

Column Capital
(watercolor on paper, 30x22)

Column Capital No. 2

(watercolor on paper, 30x22)

54 Watercolor artist | FEBRUARY 2019

looking at the world in all its variety.
“I hope that people will respond to my Meet the Artist
work by loving it,” she says, “saying Wendy Artin (wendyartin.com) was born in Boston,
it’s exactly right. his is the essence of and was an avid artist as a child. “Drawing was a
the thing I’m painting—that people way to keep myself entertained in the museums
love the marks, the way that water- where my parents brought me, a way to express
color seems to do it by itself—and myself as an awkward teenager,” she says. She
attended a liberal arts college “for practical
that they want to look at the drawing
purposes,” majoring in French literature at the
or painting again and again. I hope University of Pennsylvania while filling her free time
that the pictures will make people with art classes. Afterward, she attended art school,
return to moments of visual joy— first at the École des Beaux-Arts, in Paris, and then
to appreciate, for example, the dark, for a master’s of fine art at the School of the Museum of Fine Arts at Tufts
frothy parasol pines, and the gorgeous University, in Boston. She spent some time traveling and painting in
rust stain beneath a drain pipe.” WA Central America and Europe before settling in Rome. She has since
exhibited her work widely both in the United States and Europe. Her
watercolors of ancient sculptures were the subject of an exhibition at the
John A. Parks is a painter, a writer and Kelsey Museum of Archaeology, at the University of Michigan, in 2015. Her
a member of the faculty of the School work is represented by Gurari Collections, in Boston, and the Galerie du
of Visual Arts in New York. Passage, in Paris.

ArtistsNetwork.com 55
 Seeing in
Shades
of Gray START YOUR WATERCOLOR WITH A
GRISAILLE UNDERPAINTING
TO ENSURE THE WORK IS GROUNDED WITH
A POWERFUL VALUE STRUCTURE.
By Tim Saternow

U
nity. It’s the basic building block of any visual
composition. It’s what makes a painting a harmonious,
integrated whole. In both representational and
abstract painting, there are many ways to achieve
unity: placing elements close together; using repetition;
continuing a line, an area or an edge of a pattern; using
a grid; or using a dominant color, texture, line, size,
shape or value. How an artist unifies a painting is a
highly personal aesthetic choice. I love to paint New York City, but it’s a
cacophony of color, texture and shapes that can be overwhelming to the
eye and brain. I’ve found that using value to unify my watercolor paintings
helps me grapple with this complex landscape. Value is the structure that
holds my paintings together, and it’s the first paint I put down on paper.

A grisaille technique works well to capture the dramatic canyons of

New York City or the majestic mountains of Colorado. I used various
values of Payne’s gray to paint Broadway to the Flatiron Building
(watercolor, 60x40) on Arches triple elephant size rough paper.
 CLOCKWISE FROM LEFT
I find that a careful pencil
drawing is essential. It
I begin all of my paintings with a The Power of Grisaille keeps me from worrying
value-pattern underpainting that, he technique I use to create this about the details or
by unifying the image, helps me underlying value pattern is called composition while painting.
realize a large number of important grisaille underpainting. Grisaille
Sunlight and cast shadows
compositional considerations. (pronounced like Versailles) means are important elements in
First, the underpainting establishes “grayness” in French. Historically, my compositions. Not only
volume and depth—especially atmo- works created completely in ranges do they provide great
spheric or aerial perspective. Second, of achromatic gray were seen in diagonals, they increase
the sense of distance and
it creates my focal point. hird, it medieval- and Renaissance-era drama as seen in this
forms true depictions of light and frescoes and devotional triptychs grisaille stage.
shadow. And, inally, a value-pattern that depict minor saints, architec-
underpainting generates a dramatic, tural elements or trompe l’oeil For the finished painting,
Irving Place, Con Ed Tower
emotional impact, especially when statues. (See “Great Feats of
(watercolor on paper,
using high-key contrasts. Grisaille” on page 60). 40x26), I further increased
the contrast of the shadows
to pull the viewer’s eye deep
down Irving Place to that
beautiful tower building.
I left areas of white paper in
VALUE IS THE STRUCTURE THAT places where I knew the sun
would strike to provide the
HOLDS MY PAINTINGS TOGETHER, bright local color of the
brick and stone.
AND IT’S THE FIRST PAINT
I PUT DOWN ON PAPER.
58 Watercolor artist | FEBRUARY 2019
 Great Feats
of Grisaille
There are many fascinating
examples of grisaille from the
medieval and Renaissance
periods. The 1305 frescoes of
Giotto (Italian, 1276-1337) in
the Scrovegni Chapel in
Padua, Italy, for example,
contain grisaille figures of
“vices and virtues.”
Michelangelo (Italian,
1475-1564) painted grisaille
putti—beautiful cherubic
babies, holding up the
entablatures in the Sistine
Chapel ceiling.
Perhaps one of the most
astonishing examples is the
work on the outside hinged
panels of the Ghent Altar-
piece, painted by Flemish
artist Jan van Eyck (1390-1441).
The altarpiece, which depicts
Christian saints, was
commissioned for St Bavo’s
Cathedral in Ghent, Belgium.
In many churches, triptychs
were displayed with panels
closed, and visitors had to
pay a fee to see the color Achromatic painting was quicker and less expensive
paintings inside. than using costly color pigments, or creating a relief
sculpture. he works also could be rendered in brown/
sepia tones (brunaille) or gray-green (verdaille), which
were often used in tempera paintings as an underpaint-
ing technique for skin tones.
With the development of oil paint in the 1400s,
artists discovered the incredible range of this new
medium. It could be used thick and opaque or in thin
transparent washes. he grisaille technique was already
widely known, but now an artist could create a grisaille
underpainting and apply color glazes over it. Not only
was it easy to get a range of value using just a single
color, it also helped avoid the risk of the vivid colors
ART RESOURCE, NY

getting muddy by mixing colors wet.

I’ve found that this old oil technique works well for
watercolor painting as well. I take my Payne’s gray and
use it from full strength to very light washes to create an
John the Baptist, a detail from
initial grisaille layer, or value pattern. he Winsor &
The Ghent Altar polyptych with Newton Payne’s gray isn’t a true achromatic gray, but
the Adoration of the Lamb rather a deep gray-blue (a mixture of ultramarine, Mars
1432; grisaille from the workday black and sometimes crimson). I love it for its richness
panels. Oakwood, 58¾x21½ and depth. I sometimes decide my painting is inished at
the underpainting stage—without adding any local color.

60 Watercolor artist | FEBRUARY 2019

 My technique also breaks an old “rule” of watercolor
painting: Start with the lightest and palest, then move
toward the darks. Instead, I try the absolute darkest
value irst. his is such an easy way to see the widest
range of values—from the white of the paper next to
the darkest value of Payne’s gray. Instant drama!

Start From Sketch

Before I paint, I irst draw a small, separate value sketch
in pencil. I’m not looking for detail with these sketches,
but rather for large areas of light and dark. At this stage,
the shadow side of a building and its cast shadow aren’t
necessarily separate values, or elements—I draw them
as one shape. his is when I can see if my composition
will actually work as a much larger painting. Keep in
mind that color does have value, but seeing those values
is diicult. An easy way to see the values in color is to
photocopy your reference (in black and white) and draw
from that.
I apply the grisaille layer carefully, taking my time,
but the local color goes on quickly in washes. his
added color shifts value beautifully, according to the
grisaille layer beneath.
Watercolor is a complex and very contemporary
medium that allows for a wide range of treatments and
techniques. My choice to utilize a grisaille underpaint-
ing works for me, giving my paintings a weight and
solidity that helps communicate my very personal
vision of New York City. WA

Meet the Artist

In his large urban watercolors,
award-winning artist Tim
Saternow (timsaternow.com)
LEFT reveals the fleeting beauty of the
Working on Arches triple elephant size rough paper, old factories and gritty streets of
I start with a careful perspective drawing in pencil, New York City. His work has been
and then add the first layers of Payne’s gray as a exhibited in numerous galleries
value composition. I leave the paper white where throughout the U.S. and
I know I’ll want pure, bright local color. internationally, and has been
featured in a number of art
ABOVE publications, including the competition series, Splash,
I want the sign to be the focus in Psychic Reading, Volumes 12, 13 and 18. Saternow teaches workshops on
West 27th St. (watercolor on paper, 60x40), so the painting, drawing and linear perspective in New York
depth and lightness of the sidewalk lead the eye in City, and in workshops at the Art Students League of
that direction. I also needed more dark values, so New York. The artist is represented by the Kobalt
I layered Payne’s gray and sepia to create rich darks.
Gallery, in Provincetown, Mass.

ArtistsNetwork.com 61
 WHERE LIFE AND
ART INTERSECT
62 Watercolor artist | FEBRUARY 2019
WHERE SOME PEOPLE SEE TRAFFIC OR THE MUNDANE,
JOHN BAYALIS SEES A CLEAR PATH TO A PAINTING.
By Stefanie Laufersweiler

ArtistsNetwork.com 63
 W e’ve all been there: stopped at a red light,
slowed in a construction zone, detoured
along a side street, confronted by a rail-
road crossing. For most of us, these are
exasperating times, but not for John
Bayalis. He paints these familiar moments in a hyperrealistic
way that reveals how captivating the commonplace can be.
ABOVE
Bayalis admits to being a purist
about using only the white of the
paper for his whites, such as for the
streetlights and headlights in
Central Avenue at Dusk (water-
color on paper, 16x30). “I lightly
scrubbed the edges to lift some
color and soften them for a
smoother transition,” he says.
The Appeal of Anywhere RIGHT
Bayalis was impressed early on by the cityscapes and rural Beach Drive at Sunset (watercolor
on paper, 18x30) presents the old
scenes of Edward Hopper, Norman Rockwell and Andrew elements of St. Petersburg, Fla.,
Wyeth, and later by photorealistic painters Richard Estes and with its rising new skyline. “The
John Baeder, whose urban landscapes he saw on trips to New amount of street surface made it
York City as an art student in the 1970s. important to use colors and grada-
“I decided to try my own version of the urban landscape tions that kept that area interesting,
without dominating the painting.”
featuring views of my hometown in Wilmington, Delaware,”
he says. “I found the window relections and street scenes a PREVIOUS SPREAD
good it for my detailed style.” His interest grew while living in The southern Delaware scene in
Milford, a small Delaware town where he painted and taught art Moonrise (watercolor on paper,
16x30) is a nod to the American
for 30 years. “he street scenes and the vernacular landscape landscape to which Bayalis is
outside of town opened up a wealth of painting subjects.” attracted. “I like to include all the
Bayalis’ travels have taken him as far as Ireland and Cuba, but commonplace or ‘vernacular’
his painting inspiration still derives from much closer to home objects, like signage, phone poles
in St. Petersburg, Fla., where he and his artist wife, Margaret, and wires.” His wife, Margaret,
who waited patiently as he took
moved in 2013. “he speciic locations often aren’t as important reference photos, appears
to me as a more universal look—a view of ‘Anywhere, USA,’” on the far left.

64 Watercolor artist | FEBRUARY 2019

Bayalis says. “I’ve often gotten reactions from viewers who were
sure that I had painted the scene in their hometown.” Toolkit
In his interpretations of city and suburban life, Bayalis SURFACE
embraces what he calls “the disappearing American land- Bayalis prefers Arches
scape”—pieces of popular culture and signs of the present day hot-pressed watercolor
that may be gone tomorrow. For example, the World Liquors paper. “I’ve got to use
store in Central Avenue at Dusk (at left) was sold and demolished 300 pound,” he says,
shortly after Bayalis completed the painting. He’s also drawn to “because it’s thick
speciic lighting scenarios related to the time of day and the enough that I can really
weather. “hese are situations we can all relate to, sometimes soak it and saturate it
more subconsciously,” the artist says. with layers of color. My
fog paintings require
A Balance of Tight and Loose a lot of wetting. They’re
soaked with water and
Solid planning is crucial to Bayalis because it allows him the carefully layered to get
freedom to make changes later. He develops a workable photo those irregularities
composite on his computer, leaving out distractions that inter- I want in the sky, and
rupt the composition’s unity, but largely aiming to paint things even in the foreground.”
as they are.
He then transfers a printout, scaled up to the size of the PAINTS
painting, to hot-pressed paper. He prefers this surface partly for Bayalis likes Sennelier’s
the ease of drawing crisp detail on it, a discovery he made when tube watercolors for
attempting to add crossword puzzles and other lettering to one their density. “Their
of his still life paintings. “I transfer the basic image by toning warm colors, in partic-
the back of the photo with graphite and then redrawing over it ular, are rich and
onto the watercolor paper to pick up essential elements,” Bayalis bright.” He also uses
says. “I add more details as needed before starting to paint.” Holbein and Winsor &
Newton, especially
cooler hues such as
cerulean blue, manga-
nese blue and violet.
Green tube colors run
the risk of appearing
too artificial in a land-
scape painting, Bayalis
says, so he rarely uses
them alone. “I almost
always use a yellow hue
to begin, and then I mix
blue or green into it.”

BRUSHES
“I use a combination
of kolinsky and
synthetic brushes,”
Bayalis says. “The
synthetics are excellent
for lettering, edging
and detailing.”

MISCELLANEOUS
“The best masking
solution I’ve found is
made by Sennelier,”
the artist says.

ArtistsNetwork.com 65
 “ THE S P E C IF IC LO CATI O N S O F TE N A RE N ’ T AS
IMPORTANT TO ME A S A M O RE UN I VE RSA L LOO K—
A V IE W O F ‘A N Y W HE RE , USA .’ ”

hen the challenge lies in inding a balance between the loose RIGHT
luid washes that create gradations and subtle value changes, and Summer Rain (watercolor on
paper, 16x30) is the first painting for
the tight rendering of the detailed areas that inish the painting. which Bayalis used a smartphone
“For my painting to be a success,” he says, “neither of these can photo as reference; it was taken at
overwhelm the other, but instead need to work together.” a stoplight. “I realized that an inter-
Bayalis, who studied oil painting at the University of Delaware esting composition was right in
front of me, and took photos as
before trying watercolor, isn’t a rigid proponent of a limited
I waited for the light to change,” he
palette, but he does avoid complicating the process with too says. He was captivated by the
many colors, and he isn’t timid when it comes to application. lighted signage, the positions of the
“I work with the knowledge that I can always tone down an area stopped vehicles and the abstract
that’s too bright, but I can never brighten what’s too dull.” patterns on the wet pavement. “It
was essential to keep the road
reflections on the right side of the
An Invitation to Participate painting both fluid and soft to
make the scene work.”
One subject you won’t see much of in Bayalis’ artwork is people.
BELOW
“I’ve used people in some of my street scenes, but I think, in
“Maintaining the desired level of
general, viewers connect to the scene by placing themselves into brightness and color without
it when there aren’t any people present,” he says. “I believe that it making it too garish is a challenge,”
enhances the reality of the experience. When we look at paintings, Bayalis says of Afternoon Showers
we’re total spectators unless such a connection is made.” (watercolor on paper, 18x30),
featuring tropical greens against
volatile gray-purple skies. “Green is
Stefanie Laufersweiler is a freelance writer and editor living a particularly difficult color to work
in Cincinnati. with. Balance is very important.”

66 Watercolor artist | FEBRUARY 2019

 Meet the Artist
John Bayalis
(bayalistudio.
com) has been
the recipient
of numerous
awards and
has painted
abroad in
Ireland, England
and France.
Noted for his distinct realist style,
his skill at handling contemporary
themes and subject matter has
earned him acclaim from art critics
and collectors throughout the United
States. His work is featured in both
private and public collections, and
is available at Leslie Levy Fine Art
Gallery, in Scottsdale, Ariz., and
Bayalis’ still life paintings are similar to his landscapes in their Woodfield Fine Art Gallery, in
nod to iconic elements of Americana. Awake (watercolor on St. Petersburg, Fla.
paper, 22x30) features everyday items connected by light and
shadow. “The light is such an important element,” the artist says,
“as it creates a whole layer of shadow patterns on the tabletop.”

Turn for a demo

ArtistsNetwork.com 67
 demo

Rainy Intersection
John Bayalis works the entire surface in a traditional light-to-dark
approach using his favorite blues—ultramarine and manganese—
and violet, along with sepia and phthalo green.

Reference photo
The photographed scene is flat and somewhat
gray—and in need of more life for the painting.

Step 1
After making a pencil transfer drawing on
Arches 300-lb. hot-pressed paper, I decide
which areas of the composition need masking.
This allows me to apply washes liberally and
loosely, without losing the white areas I’ll need
later. I do color testing for the base
background areas, leaning toward brighter
colors to start with for the sky and street
areas. Watercolors dry to a less intense color,
and I can soften any areas that appear too
bright with the later washes. I wet the entire
paper to allow free application for the sky and
street areas. After the initial washes dry,
I paint in some of the essential elements, such
as background trees, buildings and cars.

Step 2
I intensify the overall color, keeping washes
loose and using active brushwork over the
entire surface to create a rainy look. The sky
is intensified with a bit more violet applied
into the predominant manganese hue. The
street and trees are also intensified, with
more details indicated. The reflective areas
of the paved surfaces are developed while
the paint is still wet. Some smaller details in
the cars and buildings are picked out as
well. I evaluate whether the overall value
seems dark enough to provide contrast
against the streetlights and headlights.

68 Watercolor artist | FEBRUARY 2019

 Step 3
Once I’m happy with the overall value in the sky
and street, I add the traffic lights and more details
to the buildings on the left. I paint the trees using
richer values and subtle textures to maintain an
atmospheric feeling. Meanwhile, I use more intense
color in the reflections on the wet street. Next,
I determine whether the values are accurate in the
background, because once the masking is
removed, it’s difficult to paint back into it.

Final
I remove the masking from the highlighted areas using a shaped kneaded eraser.
I want these areas to be as bright as possible and to “shine” through the rainy
background. This requires colors like cadmium yellow light, opera rose and
cadmium red light for the warm lighting effect. I apply details to the cars, rewetting
them as necessary to soften them. In Cloudburst (watercolor on paper, 18x30),
I’ve worked to keep the focus softer, as it would appear on a wet day. WA

ArtistsNetwork.com 69
A Portrait
By Any
Other Name
 JAMES TOOGOOD
MAKES SUBJECTS
OF THREE CITIES AND
ONE TINY ISLAND IN
THE MIDDLE OF THE
ATLANTIC FOR HIS
LANDSCAPE “PORTRAITS.”

By James Toogood

ABOVE
Evening, St. George’s
(watercolor on paper, 14x11)
is a painting of the home of
Joseph Stockdale, in the
historic town of St. George’s
on the eastern end of

I
think of my landscapes as if they’re portraits—“portraits of places.” Bermuda. Stockdale founded
Some of my most constant landscape muses have been the cities of the island’s first newspaper.
New York, Philadelphia and Venice, plus the island of Bermuda. hese The composition, in a vertical
distinct locations have provided me with the opportunity to explore format, reinforces the
narrowness of Printer’s Alley.
an endless variety of atmosphere, light, color and texture, enhanced
by seasonal variations and changing times of day. OPPOSITE
Water is integral to both Venice and Bermuda, in more than one way. For Blizzard on Fifth Avenue
instance, both Venice and Bermuda are humid. he moist air impacts (watercolor on paper, 30x22)
is a north-facing painting of
visibility constantly in both locations, whereas it only occasionally afects
Fifth Avenue at 12th Street in
Philadelphia and New York City in a signiicant way. Humidity can both New York City. The cold,
intensify and diminish visibility. dense atmosphere obscures
On the other hand, a location’s latitude, or how far it is from the equator, color and distant buildings.
afects how we experience light. Venice is the most northern of my muses; New It’s a tonalist painting in
some ways. I placed the
York City and Philadelphia are on similar latitudes; and Bermuda is the most figure in the lower right of the
southern, sitting several hundred miles of the coast of the Carolinas. he composition in stark contrast
abundant sunshine makes Bermuda the most naturally colorful, while the to the looming buildings.

ArtistsNetwork.com 71
 ABOVE
Smiths on Eighth (watercolor on
paper, 21x30) shows the morning
light on Eighth Street as it cuts
across midtown Manhattan. It others typically rely more on manmade color and texture. Similarly, the beauty
depicts a time of year very close to of natural textures dominates in Bermuda. I consider all of these aspects and
“Manhattanhenge,” when the more to get to what I feel are the essential qualities of each location.
sunlight cuts directly across I carefully compose and execute each painting using multiple layers of color
Manhattan. The challenge was to
depict the chiaroscuro light and over an initial drawing. hey’re done in the studio from plein air studies and
dark, while maintaining clear photos. In spite of the fact that cities are often teeming with people, many of
visibility in both areas. Primary my city portraits have few—if any—people in them for several reasons.
colors in the signage, taxis and Primarily, I like to portray the environment itself, create a sense of quiet, and
pavement dominate the saturated
attempt to build a connection between realism and abstraction. When I do
color palette.
choose to incorporate a igure, it’s not random; igures are carefully considered
OPPOSITE and crucial to the storytelling. Although I highly develop my paintings, I hope
Cosi (watercolor on paper, that they’ll occasionally leave the viewer with a sense of ambiguity.
14½x11½) has an almost
Mondrian-like abstraction.
Various reflective surfaces
combine in this painting of a
restaurant in Philadelphia to
Philadelphia and New York City
show, not just what’s in front of I live just outside Philadelphia and a short drive away from New York City. With
us, but the buildings behind us as
such easy access, both locations have provided me with endless inspiration, ample
well. The strong colors vibrate.
opportunity to exhibit my work and places to teach. Despite some diferences,
I enjoy painting both cities equally. I typically prefer portraying them in winter,
or at least at times when there aren’t any leaves on the trees. he cityscapes can
sometimes have a gritty sense of isolation and world-weary ennui that can be
interesting in a painting and give the work a touch of edginess.

72 Watercolor artist | FEBRUARY 2019

ArtistsNetwork.com 73
Venice
To some, Venice may simply be a lovely little town in northern Italy, but, in
truth, it’s a city and the capital of the Vento region of Italy. It’s comprised of
six districts or sestieri that sit on 118 small islands separated by a labyrinth of
winding, picturesque and often very narrow canals. hese canals are linked by
some 400 bridges, each one unique, which is why Venice has earned the name
“he City of Bridges.”
I’ve been to Venice during the months of May, September and October. It’s
magical—unlike anywhere else on earth. he textures of Venice, in every mean-
ing of the word, are stunning. he beautiful and elegant palazzos, grand piazzas, I’ve been to
maze of narrow alleys and crumbling buildings make for a beauty that’s both
enchanting and poignant.
Venice during the
he light in Venice reads as ethereal. It’s soft, delicate and full of atmosphere, months of May,
with an average humidity at a substantial 76 percent. Water twists the light,
bouncing it from surface to surface, and the buildings are mirrored everywhere
September and
in the relections. October. It’s
magical—unlike
anywhere else
on earth.

LEFT
A Back Canal (watercolor
on paper, 11x14½) depicts a
waterway in the San Polo sestiere
and shows a contrast of light,
color, texture and atmosphere.
There’s a stillness and quietness
to the painting. The motionless
water acts like a mirror,
emphasizing the abstract quality.

OPPOSITE
Rio dei Mendicanti (watercolor
on paper, 144⁄5x11) features a
limited palette of complementary
colors and a strong sense of
aerial, atmospheric perspective
due to the moist air. The colors
lack saturation; the blues are
toned or grayed down with raw
umber, and the background is
painted with a pale tint of the
colors used in the foreground.

ArtistsNetwork.com 75
 Bermuda
I’ve spent an enormous amount of time on the island of Bermuda, during every
month of the year, and have twice been chosen to be the island’s artist-in-
residence. Bermuda is actually a series of islands formed by an ancient volcano.
It’s known for its natural coral limestone formations, vivid blue water and coral
pink sand. Despite its position in the middle of the Atlantic Ocean, the climate
is subtropical because of its position in the Gulf Stream.
Water plays a special role in Bermuda—and not only in the ocean. here’s no
natural fresh water on the island, so Bermudians rely solely on rainwater as
their primary source of fresh water. It’s collected on the distinctive white-tiled
roofs of each building and directed into cisterns.
As with Venice, Bermuda is humid. he quality of the light is warm and soft.
It relects of the water and gets dispersed by the moist air, which intensiies the
colors and makes them richly saturated. WA

As with Venice,
Bermuda is humid.
The quality of the
light is warm and
soft. It reflects off
the water and gets
dispersed by the
moist air, which
intensifies the colors
and makes them
richly saturated.
76 Watercolor artist | FEBRUARY 2019
ABOVE
The Crawl (watercolor on paper, 14½x21½)
is a lovely little bay on the north side of
Meet the Artist
Bermuda. The arrangement of indigenous James Toogood (pafa.org/toogood)
coral limestone and aqua-blue water routes teaches at the Pennsylvania Academy
the viewer’s eye from the shallow eddies in of the Fine Arts, in Philadelphia, and
the foreground off into the distance. The red previously taught at the National
and white boat acts like an arrow, pointing Academy of Design, in New York City.
to the rocks in the distance, which, in turn, He has had numerous exhibits of his
point to the ocean beyond. watercolors in Bermuda, including
three at the Masterworks Museum of
OPPOSITE
Bermuda Art.
Dead Calm, Mangrove Bay (watercolor on
paper, 14x10) captures the view of Bermuda’s
western end as it looks out past small islands
and into the Atlantic. The black grass sits
motionless in the foreground as it grows on
the sandy bottom. The moist air seems to
soften the edges, and the dominance of blue
lends the painting a soothing sense of calm.

ArtistsNetwork.com 77
 Bright Ideas

Thames After Homer

(London)

It’s Sunset Somewhere (graphite and

watercolor on paper,
6½x4¼)

We shed a little light on the history of the nocturne—

and how best to achieve your own night paintings.
By Stephen Harby

t he representation of a nighttime
scene, traditionally referred to
as a nocturne, presents a fasci-
nating and exciting challenge when
the chosen medium is watercolor.
he term “nocturne” seems to have
originated with the eforts of James
Abbott McNeill Whistler (1834-1903)
depicting ireworks and scenes at
dusk along the River hames in the
Italian artist Caravaggio had pioneered
the representation of dark scenes dra-
matically lit by a bright source of light,
such as a candle. his came to be called
chiaroscuro, literally, “clear/obscure”
his medium, which is all about light 1870s (see Nocturne in Blue and Gold: or “light/dark” (see he Calling of Saint
and transparency, would seem to be Old Battersea Bridge, opposite). he Matthew, opposite).
counter to the demands of represent- results hardly met with universal I’ve painted many nocturnes fea-
ing a scene layered with dark tones acclaim, and the great art critic John turing landmarks around the world,
and only glimmers of light, whether Ruskin was so condemning that but my eforts began with the subject
from the moon or the artiicial illumi- Whistler sued him in court—and of the hames; I set out to copy a
nation of lamps or candles. won! Much earlier, the 17th-century watercolor by a great master, Winslow

78 Watercolor artist | FEBRUARY 2019

 Homer (1836-1910). He painted he
Houses of Parliament (bottom right) in
1881, just a few years after Whistler
had painted his nocturnes, which, no
Then There Was Dark
doubt, inluenced Homer’s work. The appeal of
Copying the work of an admired nocturnes is
master is a great way to learn. In a fairly recent
doing so, one dissects and reverse- development for
engineers the process the original artists, who are
artist used. In this case, I learned so dependent
on light.
that in order to achieve the overall Caravaggio,
darkness of tone, it’s necessary to Whistler and
apply many successive layers of wash Homer helped
until the desired density and darkness to break
is achieved. In hames After Homer through the
(opposite), the moonlight relecting resistance to
painting the
across the water and the sparkling darker side
lights from within the Houses of of things.
Parliament are a base color of cad-
mium yellow that had been reserved
from an initial wash across the whole
sheet to create a warm glow. Caravaggio, with his stark
light-and-dark constrasts,
Reserving highlights is a key as seen in The Calling
concept in watercolor since they’re of Saint Matthew (oil on
achieved only by preserving areas of canvas; 11x10½), opened
the white paper, allowing its luminos- the eyes of 17th-century
ity to shine through the obscurity. artists to the appeal of
dramatic darks.

Pantheon Door (Rome)

(graphite and
watercolor on paper, James Abbott McNeill
24x16) Whistler might be said
to have “invented”
the nocturne. Works
such as Nocturne in
ALL ARTWORK IS BY STEPHEN HARBY UNLESS OTHERWISE NOTED. CARAVAGGIO: CHURCH OF SAN LUIGI DEI FRANCESI; ROME.

Blue and Gold: Old

Battersea Bridge (ca
1872–75; oil on canvas;
26¹⁄₅x19⁷⁄₁₀) met with
some stiff opposition
WHISTLER: TATE, LONDON. HOMER: HIRSHHORN MUSEUM AND SCULPTURE GARDEN, WASHINGTON, D.C.

from critics.

Despite early naysayers, the nocturne drew favorable attention from

some artists. Winslow Homer painted The Houses of Parliament
(watercolor on paper, 12⁷⁄₁₀x19⁷⁄₁₀) in 1881.

ArtistsNetwork.com 79
 Bright Ideas

LEFT
Michigan Avenue
at Dusk
(sketch study; graphite
and watercolor on
paper, 22x17)

BELOW
Michigan Avenue
at Dusk, Chicago
(graphite and
watercolor on paper,
24x18)

I loosely sketched Michigan Avenue

in situ to capture the atmosphere.
When I later created a studio piece
of the scene, I started with a
detailed underdrawing.

One way to accomplish this in water- Santa Barbara

color is to apply resist—such as Mission (California)
masking luid, tape or candle wax— (graphite and
watercolor on
prior to bringing in the dark tones. paper, 13½x10½)
Homer certainly used at least some
of those methods in his painting, and
I did as well. With oil, acrylic or other
opaque media, this isn’t an issue
because these highlights can be added
later, as Whistler, who was working in
oil, was able to do.
Another challenge to painting the
night is that when working outdoors
after the sun has gone down, the con-
siderable moisture in the air results
in the paper remaining in a state of
constant dampness. It’s for this
reason that most nocturnes are studio
works based on quicker sketches done
in situ (on site). WA

Stephen Harby (stephenharby.com)

is an architect, watercolorist, faculty
member of the Yale School of
Architecture and founder of the Stephen
Harby Invitational, which organizes
travel opportunities for small groups.

80 Watercolor artist | FEBRUARY 2019

 $'9(57,6(0(17

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 artist’s marketplace
WATERCOLOR WORKSHOPS

MARJORIE GLICK
watercolor workshops 2019
focusing on dynamic color and light
Dallas TX, Feb 4-7 New Orleans LA, April 15-18
Cambria CA, March 4-7 Branson MO, May 6-9 coastal maine, and
New Bern NC, March 25-28 (ICKORY .# *UNE   tuscany, italy

  


Learn at home Books and DVDs

see website for info and dates:
(678) 513-6676 ■ www.tonycouch.com www.marjorieglick.com

Jeanne Carbonetti
Expanded Website
Master Artist Workshops
Featuring Sales Gallery Huntsville, AL | 256.535.4350 | hsvmuseum.org
for Watercolor Paintings
Store for
Weeklong classes in painting,
drawing, mixed media and more. Books, DVDs & Prints
ADVERTISER’S INDEX
JOHN C. CAMPBELL FOLK SCHOOL www.crowhillgallery.com Aloe Cure ................................................................. 81
folkschool.org 1-800-FOLK-SCH 802-875-3763 Aquarelle Studios And Galleries .......................... 84
BRASSTOWN NORTH CAROLINA Art In The Mountains ..............................................85
Bismarck Art & Galleries Association ..................83
Blick Art Materials ................................................. BC
Call for Entries Canson................................................................... IFC
Colart America ..................................................... IBC
the Transparent Watercolor Society of America
Creative Art Workshops ........................................85
43rd Annual Crow Hill Gallery .....................................................82
EXHIBITION F+W....................................................5, 7, 9, 18, 86, 87
Hudson River Valley .............................................. 84
May to August 2019 Huntsville Museum Of Art .....................................82
Kenosha Public Museum, WI Jan Sitts ....................................................................83
OVER $20,000 in CASH AWARDS John C. Campbell Folk School...............................82
Entry Deadline January 31, 2019 Kanuga ................................................................... 86
Louisiana Watercolor Society ..............................83
online entries only at CaFE MacPhersons ............................................................3
www.CallForEntry.org or Marguerite Meyerson ........................................... 86
through TWSA at watercolors.org
Marjorie Glick..........................................................82
Masla Fine Art .........................................................82
Pennsylvania Watercolor Society ........................83
Inspiring painting holidays in rural Tuscany Red River Watercolor Society ...............................83

IUUQTwatermill.net Robbie Laird Art Studio .........................................83

Robert Burridge Studio ......................................... 84
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We ofer stimulating, fun-illed Society of Watercolor Artists ................................83
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in a beautiful setting in unspoilt Italy. Tom Lynch ...............................................................85
A
TONY VAN HASSELT W
S Tony Couch .............................................................82
My 2019 Watercolor Workshops
Tony van Hasselt.....................................................82
Mar: Victorian Amelia Island, FL
BOOKS Transparent Watercolor Society ................... 82, 83
May: Discover Andalusian Spain
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DVD’S Sept: My Boothbay Harbor, ME
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Call Bill or Lois: +39    vanhasseltworkshops.com

82 Watercolor artist | FEBRUARY 2019

 Jan Sitts
Mixed Media
Workshops

Texture, Color Feeling

Book available
jan@jansitts.com  www.jansitts.com

2019 Workshops with Capturing Costa Rica in Color

the Transparent Watercolor Society of America With Robbie Laird
43rd Annual March 24 – 30, 2019
EXHIBITION
May to August 2019
Kenosha Public Museum, WI
Laurin McCracken TWSA MS, AWS, NWS
June 3–7
Painting Realism in Watercolor
Linda Baker TWSA, AWS-DF, NWS
June 3-7 and June 10-14 Franco Marini: Franco@globalj.org
Master Mentoring and Pouring Samovar with Magnolias by Laundry Alley by www.RobbieLaird.com
for more info go to www.watercolors.org
Laurin McCracken, TWSA MS Linda Baker, TWSA

Tom Lynch
CALL FOR ENTRIES WORKSHOPS 11/13-11/16/19, San Diego.
Contact: 630/851-2652
DEADLINE: JANUARY 22, 2019 ALABAMA Tomlynch@msn.com or www.TomLynch.com
Louisiana Watercolor Society 49th International Exhibit, Huntsville Museum of Art Eric Wiegardt, AWS-DF, NWS
New Orleans. May 4-24, 2019. Michael Holter, juror. 1st Place: 4/5-4/6/19, Huntsville. Lynnette Hesser & Steve Loucks, 3/26-3/29/19, Palm Desert. Wiegardt’s Painterly Watercolors.
$2,500. Prospectus: www.LouisianaWatercolorSociety.org Ceramics: Serve with Finesse. Contact: CREATE Center for the Arts, Savannah Carlin,
5/16-5/19/19, Huntsville. Robert K. Carsten, PSA-MP, IAPS-MC, 760/834-8318, savannah@createcenterforthearts.org or
DEADLINE: MARCH 7, 2019 CPS, Power of the Pastel Landscape. www.CREATEcenterforthearts.org
Red River Watercolor Society’s 26th Annual National Juried 9/23-9/27/19, Huntsville. Brian Bomeisler, Drawing on the
Right Side of the Brain. COLORADO
Watermedia Exhibition, June 17 through August 3, 2019,
Fargo, ND. Juror - Iain Stewart AWS, NWS. Awards $5,000 9/28-9/30/19, Huntsville. Brian Bomeisler, Intensive Painting/ Jan Sitts
Color based on the publication by Dr. Betty Edward, Color: A June or July 2019, Gunnison Art Center. Dates TBA.
cash +. Prospectus at www.redriverws.org or at course in mastering the art of mixing colors.
www.OnlineJuriedShows.com Contact: Laura E. Smith, Director of Education/Museum FLORIDA
Academy, 256/535-4350 ext. 222 Robert Burridge
DEADLINE: MARCH 10, 2019 lsmith@hsvmuseum.org or hsvmuseum.org
Society of Watercolor Artists International Watermedia 1/7-1/11/19, Pensacola. Loosen Up with Aquamedia Painting.
Juried Exhibit. Awards-$5,000. Juror & workshop-Iain Stewart. ARIZONA Contact: Quayside Gallery, 850/438-2363
Jan Sitts Diane Goeller, 850/348-3652, dgoeller@cox.net
Exhibit at Atrium Gallery FWCL in Fort Worth, Texas, April 14 -
AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL Pat Page, 850/293-5414, pjpage@bellsouth.net or
May 19, 2019. For more entry info: swawatercolor.com or email www.quaysidegallery.com
POST PROPOSED DATES FOR UPCOMING CLASSES.
exhibit chair: swaexhibitions@gmail.com 2/4-2/8/19, Sarasota. Abstract Acrylic Painting & Collage.
5/6-5/8/19 and 11/4-11/6/19, Sedona. Sedona Arts Center.
DEADLINE: APRIL 26, 2019 Contact: Jennifer, 928/282-3809 5-day Painting Workshop (Monday-Friday).
Eric Wiegardt, AWS-DF, NWS Art Center Sarasota, 707 N. Tamiami Trail, Sarasota, FL 34236.
Texas Watercolor Society, 70th Annual National Exhibit,
3/4-3/8/19, Scottsdale. Wiegardt’s Painterly Watercolors. Demo: Sunday, February 12, 1-3 pm.
May 29 - August 15, 2019. $7,000 Total Cash Awards, $1,500 Contact: Elizabeth Goodwill, Education Director
Best of Show. Juror & Workshop instructor Carol Carter Contact: Scottsdale Artists’ School, Trudy Hays, 480/990-1422
thays@scottsdaleartschool.org 941/365-2032, elizabeth@artsarasota.org or
(see workshop). Prospectus: TexasWatercolorSociety.org www.artsarasota.org
CALIFORNIA 2/9-2/10/19, Sarasota. Abstract Acrylic Painting & Collage.
DEADLINE: MAY 15, 2019 Art In The Mountains 2-day Painting Workshop (Saturday-Sunday). Art Center
Pennsylvania Watercolor Society’s 40th International Juried 3/18-3/20/19, Laguna Beach. Mary Whyte, Painting the Sarasota, 707 N. Tamiami Trail, Sarasota, FL 34236.
Exhibition, August 31 - October 26, 2019 at the Lancaster Portrait and the Figure. Watercolor - studio. All levels Contact: Elizabeth Goodwill, Education Director
Museum of Art, Lancaster, PA. Fees for 1 or 2 paintings – welcome. Live Models - fee included. 941/365-2032, elizabeth@artsarasota.org or
Members $25, Non-members $40. Easy online entry and 4/24-4/26/19 and 4/28-4/30/19, Santa Barbara www.artsarasota.org
payment or use a mail in form. Juror of Selection – (moved from San Antonio). Alvaro Castagnet, The Pillars of Jaimie Cordero
John Salminen, Juror of Awards – Matthew Bird. Anticipate Watercolor. Watercolor - plein air - intermediate to advanced
2/8-2/9/19, Pinecrest. “Light & Shadow for Sun Lovers”. 2-Day
outdoor painters.
over $14,000 in Awards. Entries accepted beginning 9/9-9/13/19, Santa Barbara. David Taylor, Moving Workshop with Photography tips, Composition strengthening,
March 1, 2019. For a prospectus, visit www.pawcs.com or Forward and Capturing the Moment. Watercolor - plein air, Plein air sketching, and Color Layering in Watercolor.
email pwsjuriedshow@gmail.com intermediate to advanced. 9/9-9/10/19, Pinecrest. “Tropical Florals in Light & Shadow”.
Contact: Tracy Culbertson, 503/930-4572 2-Day Workshop featuring dazzling tropical plants in
DEADLINE: JUNE 28, 2019 info@artinthemountains.com or Watercolor.
8th Annual Square Foot Exhibit, August 6-30, 2019. Oil, www.artinthemountains.com Contact: Jaimie, 786/303-5293, WDJaimieC@aol.com
watercolor, acrylic, or mixed media. Canvases supplied with Tony Couch, AWS Tony Couch, AWS
Entry Fee: $25 for 1, $30 for 2 entries. Prospectus online at 3/4-3/7/19, Cambria. 2/25-2/28/19, Punta Gorda.
www.bismarck-art.org or contact BAGA at 701/223-5986. Contact: 678/513-6676, toncouch@mindspring.com Contact: 678/513-6676, toncouch@mindspring.com

ArtistsNetwork.com 83
 artist’s marketplace
Tom Lynch MAINE Chris Unwin
1/7-1/10/19, Boynton Beach. Marjorie Glick Watercolor Workshop Weekly on Wednesdays.
1/25-1/27/19, Indian Rocks Beach. 6/16-6/21/19, Stonington. Watercolor Plein Air: Color and West Bloomfield, MI 48322
2/25-3/1/19, Pensacola. Light. This magical coastal landscape is an artists’ paradise! Contact: Chris Unwin, 248/624-4902
3/5-3/8/19, Punta Gorda. ChrisUnwin@att.net or www.ChrisUnwin.net
Stretch your perception of how you see, think about, and paint
Contact: 630/851-2652 the landscape by learning new ways of interpreting it with MISSOURI
Tomlynch@msn.com or www.TomLynch.com color and composition. Express your ideas using watercolor’s Tony Couch, AWS
Jan Sitts elusive qualities of spontaneity and transparency. Expand 5/6-5/9/19, Branson.
what you know through individual mentoring. Daily Contact: 678/513-6676, toncouch@mindspring.com
2/18-2/21/19, Punta Gorda. Visual Arts Center.
demonstrations, ample time for painting, individual guidance
Contact: Kimberly, 941/639-8810 NEVADA
and critiques are included. Stonington, Maine is 90 minutes by
Tony van Hasselt, A.W.S. car from Bangor, Maine airport. Tom Lynch
3/18-3/22/19, Victorian Fernandina. Painting fun on sunny Contact: www.marjorieglick.com 8/13-8/19/19, Reno.
Amelia Island. Stately homes with moss-draped oaks plus Tony van Hasselt, A.W.S. Contact: 630/851-2652
a harbor, boats and rickety docks. Demonstrations, lots of 7/29-8/2/19, Belfast. Five days of plein air fun, exploring this Tomlynch@msn.com or www.TomLynch.com
individual painting time and assistance. Work in watercolor teaming coastal harbor and enjoying the charm of Victorian NEW YORK
or acrylics. Bayside. Subjects galore. Demonstrations, lots of individual Robert Burridge
Contact: www.vanhasseltworkshops.com painting time and assistance. Work in watercolor or acrylics. 5/20-5/24/19, Greenville. Contemporary Abstract Figure
Contact: www.vanhasseltworkshops.com Painting & Collage. 5-day Painting Workshop (Monday-
GEORGIA 9/16-9/20/19, Boothbay Harbor. Let Tony show you favorite Friday). Hudson River Valley Art Workshop.
Jaimie Cordero spots in his own “backyard”. Coastal scenes, rickety docks, a Contact: Kim LaPolla, 518/966-5219 or
9/5-9/7/19, St. Marys. “Celebrating the Light & Shadow of St. farmers market, lighthouse and more. Demonstrations, lots 888/665-0044, PO Box 659, Greenville, NY 12083
Marys”. 3-Day Workshop with Photography tips, Composition of individual painting time and assistance. Work in watercolor www.artworkshops.com
strengthening, Plein air sketching, and Color Layering in or acrylics. Tony Couch, AWS
Watercolor. Contact: www.vanhasseltworkshops.com 7/15-7/17/19, Corning.
Contact: Jaimie, 786/303-5293, WDJaimieC@aol.com MASSACHUSETTS Contact: 678/513-6676, toncouch@mindspring.com
HAWAII Casa de los Artistas, Inc. – Hudson River Valley Art Workshops
Masla Fine Art – ArtWorkshopVacations.com 3/17-3/23/19, Kellee Wynne Conrad.
Eric Wiegardt, AWS-DF, NWS 3/27-3/31/19, Patti Mollica.
1/20-1/27/19, Lahaina, Maui. Robert Masla Studios North
3/31-4/6/19, Alain Picard.
Maui Watercolor Plein Air Workshop. Contact: 413/625-8382, www.MaslaFineArt.com or
4/10-4/14/19, Alvaro Castagnet.
www.ArtWorkshopVacations.com
Contact: Wiegardt Studio Gallery, 360/665-5976 4/14-4/18/19, Howard Rose.
Join Masla this spring, summer and fall for drawing and plein 5/5-5/11/19, Koo Schadler.
watercolors@ericwiegardt.com
air painting weekend mentoring workshops at the edge of the 5/15-5/19/19, Barbara Nechis.
ILLINOIS Berkshire Mountains, at Masla Studios North, in picturesque 5/19-5/25/19, Robert Burridge.
Transparent Watercolor Society of America rural Ashfield, MA. Weekend includes fabulous picnic 5/29-6/2/19, Emilie Lee.
lunch and some materials. Workshops are for beginners 6/2-6/8/19, Jane Davies.
6/3-6/7/19, Kenosha. Laurin McCrackin, TWSA MS, AWS, NWS,
to advanced painters. Experience Maslas’ award winning 6/9-6/15/19, Leah Lopez.
Painting Realism in Watercolor. teaching style while you enjoy a beautiful relaxing weekend 6/23-6/29/19, Paul Leveille.
6/3-6/7/19 and 6/10-6/14/19, Kenosha. Linda Baker, TWSA, in the country. Small groups with lots of individual attention. 6/30-7/6/19, Michael Solovyev.
AWS-DF, NWS, Master Mentoring and Pouring. Please check our website for schedule. 7/7-7/13/19, Debora Stewart.
Contact: www.watercolors.org 7/14-7/20/19, Kim English.
MICHIGAN 7/21-7/27/19, Sally Strand.
LOUISIANA Tom Lynch 7/28-8/3/19, Michael Story.
Tony Couch, AWS 7/17-7/20/19, Lowell. 8/4-8/10/19, David Daniels.
4/15-4/18/19, New Orleans. Contact: 630/851-2652 9/1-9/7/19, Retreat Week.
Contact: 678/513-6676, toncouch@mindspring.com Tomlynch@msn.com or www.TomLynch.com 9/8-9/14/19, Margaret Dyer.

HUDSON RIVER VALLEY

ART WORKSHOPS
Learning, Laughter,
and Friendships in an
Inspiring, & Inviting
Environment

Call Toll-Free 1-888-665-0044

Kellee Wynne Conrad Mar 17-23, 2019
Patti Mollica Mar 27-31, 2019
Alain Picard Mar 31-Apr 6, 2019
Alvaro Castagnet Apr 10-14, 2019
Howard Rose Apr 14-18, 2019
Koo Schadler May 5-11, 2019
ROBERT BURRIDGE Barbara Nechis May 15-19, 2019
Robert Burridge May 19-25, 2019
• Burridge Studio App Emilie Lee May 29-Jun 2, 2019
Jane Davies Jun 2-8, 2019
• Free Online Newsletter Leah Lopez Jun 9-15, 2019
• Free Weekly BobBlast Paul Leveille Jun 23-29, 2019
Michael Solovyev Jun 30-Jul 6, 2019
• Current Workshop Schedule Debora Stewart Jul 7-13, 2019
Kim English Jul 14-20, 2019
• Workshops in Bob's Studio Sally Strand Jul 21-27, 2019
Michael Story Jul 28-Aug 3, 2019
David Daniels Aug 4-10, 2019
Retreat Week Sep 1-7, 2019
Margaret Dyer Sep 8-14, 2019
David Taylor Sep 15-21, 2019
RobertBurridge.com artworkshops.com

84 Watercolor artist | FEBRUARY 2019

 artist’s marketplace
9/15-9/21/19, David Taylor. Kanuga Watermedia Workshops Sharon Serrago
Contact: 888/665-0044 3/30-4/5/19, Hendersonville. Held at the Kanuga Conference Sharon is a local area artist, teaching weekly watercolor and
info@artworkshops.com or www.artworkshops.com Center in the Blue Ridge Mountains of North Carolina, we acrylic classes at her studio in Richardson, TX. As her teaching
Riverside Art Workshops offer 5 full days of instruction featuring 12 award-winning strength lies in color theory and design, her classes always
Breathtaking Views of The Hudson River. instructors. Painting is always a learning experience. Our focus on strong fundamentals - even in abstract!
5/7-5/9/19, Newburgh. Kathie George. goal is to help painters sharpen their critical awareness and Contact: 214/636-4271, sharon@serrago.com or
5/14-5/17/19, Newburgh. Nicki Heenan. discover painting gratification. Class sizes range from 12 to www.serragoartgallery.com
6/4-6/7/19, Newburgh. Peggi Habets. a maximum of 24 students, and each student selects one
6/10-6/13/19, Newburgh. Peggi Habets. instructor for the entire week. We also have Independent Jan Sitts
6/18-6/21/19, Newburgh. Jean Pederson. Studios for those who wish to paint on their own. Meals and 2019, Flower Mound. Dates TBA.
6/26-6/28/19, Newburgh. Janet Rogers. lodging are included. (Commuter option available.) Contact: Anita@studioarthouse.com
7/9-7/12/19, Newburgh. Fabio Cembranelli. Contact: 615/202-0281, KanugaWW@gmail.com or Texas Watercolor Society
7/23-7/26/19, Newburgh. Giuliano Boscaini. www.kanugawatermediaworkshops.com 5/29-5/31/19, San Antonio. Carol Carter, Watercolor From
8/3-8/4/19, Newburgh. Ritvik Sharma. Jan Sitts The Heart. Come and learn new and exciting ways to express
8/12-8/15/19, Newburgh. Herman Pekel. 11/11-11/14/20, Matthew. Award Winning Artist Workshop. yourself through watercolor.
9/10-9/12/19, Newburgh. Rick Surowicz. Contact: 704/607-6046, 4shirleyart@gmail.com Contact: twsworkshops@gmail.com
9/25-9/27/19, Newburgh. Michael Reardon.
10/22-10/25/19, Newburgh. Andy Evansen. OREGON WASHINGTON
Average class size 8-12 students. Art In The Mountains Tom Lynch
Contact: 845/787-4167, mkmeyerson@gmail.com 7/29-8/2/19 and 8/5-8/9/19, Bend. Herman Pekel, Be Brave 9/27-9/29/19, Spokane.
NORTH CAROLINA and Have Fun. Studio and plein air- watercolor. All levels Contact: 630/851-2652
welcome. Tomlynch@msn.com or www.TomLynch.com
Robert Burridge 8/12-8/16/19, Bend. Iain Stewart, Sketchbook to Studio.
8/5-8/9/19, Boone. Abstract Acrylic Painting & Collage. Watercolor - studio. All levels welcome. Jan Sitts
5-day Workshop (Monday-Friday). 8/19-8/23/19, Bend. Chinmaya Panda, Portrait and Figure in 9/5-9/8/19, Coupeville. Pacific Northwest Art School.
Cheap Joe’s Art Stuff. Watercolor. Watercolor - studio. All levels welcome. Contact: Lisa Bernhardt, 360/678-3396
Contact: Edwina May, Workshop Coordinator 8/26-8/30/19, Bend. Michael Reardon, Watercolor 9/13-9/15/19, Vancouver.
800/227-2788 or www.cheapjoes.com Techniques. Watercolor - studio. All levels welcome - some Treesong Nature Awareness and Retreat Center.
John C. Campbell Folk School experience helpful. Contact: Linda Lee, 978/618-3990
1/6-1/12/19, Suzanne DesLauriers, Mountain Landscapes in Contact: Tracy Culbertson, 503/930-4572 Eric Wiegardt, AWS-DF, NWS
Watercolor. $630. info@artinthemountains.com or 2/19-2/22/19, Kent. Wiegardt’s Painterly Watercolors.
1/13-1/19/19, Jack Cassady, Cartooning for Beginners. $630. www.artinthemountains.com
1/13-1/19/19, Michael Hughey, Cursive Italic Handwriting for Contact: JoAnne Iwasaki, 253/569-6006
Everyday Use & Simple Bookmaking. $630. SOUTH CAROLINA josakiart@hotmail.com
1/20-1/25/19, Billie Shelburn, Adventures in Collage. $564. Art In The Mountains 4/9-4/12/19, Spokane. Wiegardt’s Painterly Watercolors.
1/20-1/25/19, Eric Scott, Beyond Blank Pages. $564. 7/9-7/11/19, Greenville. Mary Whyte, Painting the Portrait and Contact: Spokane Art Supply, Victor Davis, 509/327-6628
1/25-1/27/19, June Rollins, Come Test the Waters. $354. the Figure. Watercolor - studio. All levels welcome. craigm@myartsupply.com
2/3-2/9/19, Bradley Wilson, Bold & Loose – Painting & Drawing Contact: Tracy Culbertson, 503/930-4572
with Purpose. $630. info@artinthemountains.com or
WEST VIRGINIA
2/10-2/15/19, Margaret Scanlan, Learning to Draw. $564. www.artinthemountains.com Jaimie Cordero
2/15-2/17/19, Virginia Urani, Get Your Feet Wet with Watercolor. 5/2-5/4/19, Hedgesville. “Celebrate Spring in Watercolor”.
$354. TEXAS 3-Day Workshop celebrating the colors of Spring, includes
2/24-3/2/19, Pebbie Mott, Painting in Acrylics. $630. Tony Couch, AWS photo tips, Color Layering, Plein Air Sketching.
Contact: John C. Campbell Folk School 2/4-2/7/19, Dallas. Contact: Jaimie, 786/303-5293, WDJaimieC@aol.com
Brasstown, NC 800-FOLK-SCH or www.folkschool.org Contact: 678/513-6676, toncouch@mindspring.com
Tony Couch, AWS Tom Lynch WISCONSIN
3/25-3/28/19, New Bern. 9/9-9/13/19, Stephenville. Jan Sitts
6/25-6/27/19, Hickory. Contact: 630/851-2652 6/9-6/12/19, Lac du Flambeau. Dillmans Creative Art Retreat.
Contact: 678/513-6676, toncouch@mindspring.com Tomlynch@msn.com or www.TomLynch.com Contact: Sue

Workshop DVDs
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&KLQPD\D 3DQGD 'DYLG 7D\ORU Available For Workshops In Your Area

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ArtistsNetwork.com 85
 artist’s marketplace
Transparent Watercolor Society of America is offered through Il Chiostro. Artists of all levels and mediums Casa de los Artistas, Inc. –
6/3-6/7/19, Kenosha. Laurin McCrackin, TWSA MS, AWS, NWS, are welcome and will leave enriched by this experience. Masla Fine Art – ArtWorkshopVacations.com
Painting Realism in Watercolor. Contact: marjorieglick@mac.com or info@ilchiostro.com Robert Masla Studios South
6/3-6/7/19 and 6/10-6/14/19, Kenosha. Linda Baker, TWSA, The Watermill at Posara, Lunigiana, Tuscany Contact: 413/625-8382, www.MaslaFineArt.com or
AWS-DF, NWS, Master Mentoring and Pouring. The 2019 painting tutors at the Watermill are: www.ArtWorkshopVacations.com
Contact: www.watercolors.org 4/27-5/4/19, Watercolours with Paul Talbot-Greaves A Unique Tropical Paintcation with the Best Instruction in the
(from UK). Best Location. All inclusive artists retreats - tropical oceanside
INTERNATIONAL 5/18-5/25/19, Watercolours with Keiko Tanabe (from Japan). paradise: Robert Burridge, Andy Evansen, Shelby Keefe, Tom
Lynch, John MacDonald, Robert Masla, Jim McVicker, Mario
6/1-6/8/19, Watercolours with Sandra Strohschein 1
AUSTRALIA Andres Robinson, Dave Santillanes, Randall Sexton. Serene
(from USA).
fishing village 10 miles south of Puerto Vallarta. Call for early
Art In The Mountains 6/8-6/15/19, Watercolours with Sandra Strohschein 2 registration discounts. Visit our website for more details,
1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New (from USA). schedule, slide show, free instructional videos and…
Caledonia and Gold Coast Australia Cruise/workshop. 6/22-6/29/19, Oils and watercolours with Vicki Norman 1/5-1/12/19 & 1/26-2/2/19, Robert Masla, Paint in paradise with
Contact: Tracy Culbertson, 503/930-4572 (from UK). Casa Director/Co-founder, Aqua media, Art & Yoga, Draw Like
info@artinthemountains.com or 6/29-7/6/19, Watercolours and drawing (also gouache Crazy, Paint Like Crazy – Draw Like a Painter! Painting in Plein
www.artinthemountains.com and acrylics) with Mike Willdridge (from UK). Air and the Studio.
7/13-7/20/19, Watercolours, pastels, collage and mixed 1/12-1/19/19, Shelby Keefe, Bold Brush Painting – Plein Air and
COSTA RICA
media plus acrylics with Sue Ford (from UK). Studio.
Robbie Laird 8/17-8/24/19, Watercolours, acrylics and oils with 1/19-1/26/19, Robert Burridge, Abstract Acrylic and Collage
3/24-3/30/19, Capturing Costa Rica In Color. Jude Scott 1 (from Australia). Workshop.
Contact: Franco Marini, Franco@globalj.org 8/24-8/31/19, Watercolours, acrylics and oils with 2/2-2/9/19, Andy Evansen, Loosening Up Your Watercolor
EUROPE Jude Scott 2 (from Australia). Painting, Plein Air and Studio.
8/31-9/7/19, Water-based oils, acrylics and watercolours 2/9-2/16/19, Tom Lynch, Watercolor Secrets Revealed, Plein
Art In The Mountains Air and Studio.
with Varvara Neiman (from UK).
10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to 2/16-2/23/19, John MacDonald, Drawing and Painting in Plein
9/14-9/21/19, Watercolours (and oils and acrylics) with
New Orleans. Painting days are ‘at sea’ days only. Air and the Studio.
Claire Warner (from UK).
Contact: Tracy Culbertson, 503/930-4572 2/23-3/2/19, Rescheduled - Please check our website for listing.
9/21-9/28/19, Oils, acrylics, pastels and drawing mediums
info@artinthemountains.com or 3/2-3/9/19, Randal Sexton, Expressive Brushwork En Plein Air,
with Maggie Renner Hellmann (from USA).
www.artinthemountains.com Plein Air and the Studio.
9/28-10/5/19, Watercolours, acrylics and oils with
3/9-3/16/19, Jim McVicker, Painting in Plein Air and the Studio.
FRANCE Charles Sluga (from Australia).
3/16-3/23/19, Dave Santillanes, Capturing the Atmosphere
Art In The Mountains 10/5-10/12/19, Watercolours with Tim Wilmot (from the UK). - Painting in Plein Air and the Studio.
6/10-6/14/19, Paris. Herman Pekel, watercolor- plein air - 10/12-10/19/19, Watercolours with David Taylor 3/30-4/6/19, Mario Andres Robinson, Painting in Paradise –
intermediate to advanced. (from Australia). the Portrait and Figure in Watercolor.
Contact: Tracy Culbertson, 503/930-4572 Contact: Bill or Lois on info@watermill.net or phone
Tom Lynch
info@artinthemountains.com or +39 327 379 9178. More details at https://watermill.net
2/9-2/16/19, Puerto Vallarta.
www.artinthemountains.com MEXICO Contact: 630/851-2652
ITALY Robert Burridge Tomlynch@msn.com or www.TomLynch.com
Marjorie Glick/Il Chiostro 1/19-1/26/19, Abstract Acrylic Painting & Collage in Mexico. SPAIN
TBD Tuscany. This will be a relaxing and inspiring painting Casa de Los Artistas. Boca de Tomatlan, 10 miles South of Tony van Hasselt, A.W.S.
workshop and artists’ re-treat in the Chianti Region of Puerto Vallarta. 4/30-5/10/19, Seville and Andalusia. Come sketch or paint
Tuscany, Italy. We will stay in an authentic 12th century Contact: Robert Masla, 413/625-8383 in a place that takes your breath away. Zahara de la Sierra is
monastery, San Fedele, which has been recently restored to www.ArtWorkshopVacations.com one of the most picturesque white pueblos in the area. Start a
modern first class lodging accommodations while retaining 3/10-3/16/19, San Miguel De Allende. sketchbook journal and work based on the drawings or paint
an old-world authenticity. We will paint daily, either on site or Abstract Acrylic Painting & Collage Workshop in Mexico. right on location. Demonstrations, lots of painting time and
on short field trips to view charming villages, olive groves and Contact: Flying Colors, 858/518-0949 assistance.
the beautiful, romantic Tuscan country- side. The workshop FlyingColorsArt@mac.com or www.FlyingColorsArt.com Contact: www.vanhasseltworkshops.com

RIVERSIDE ART WORKSHOPS

2019 Art sts
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Breathtaking Views of The Hudson River

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Kathie George ..................... 5/7-5/9
Nicki Heenan ................... 5/14-5/17
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Giuliano Boscaini ............ 7/23-7/26 For the Artist, Maker
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Average class size 8-12 students. Come have fun with us!
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www.artistsnetwork.com
mkmeyerson@gmail.com

86 Watercolor artist | FEBRUARY 2019

YOUR MASTERPIECE DESERVES
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nH e r tory d ta l)) | n e Pey

e o
 Open Book

Strike a Pose
“The human figure is a source of endless
inspiration,” says Susan Weintraub
(susanweintraub.com). “Every figure and
every pose is unique. As soon as this model
stood on the platform in my Friday figure
painting class, I knew I’d have fun painting his
dreadlocks. I was also struck by the contrast of
his long, flowing hair next to his angular
features. Generally, I find a profile pose less
interesting than a three-quarter view, but the
clearly defined planes of the model’s face
made it easy to see and render the forms.”

YOUR TURN!
Share a watercolor sketch painted from a
live model. @ArtistsNetwork on Instagram:
#everywatercolor_figure

“OPEN BOOK”
S P O N S O R E D BY

88 Watercolor artist | FEBRUARY 2019

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