WatercolorArtist_February2019 [27]

Citation preview

THE PERFECT TRIO

For an elevated painting experience, pair Blick Masterstroke Finest Red Sable Brushes and vibrant Artists’ Watercolors with our Premier Watercolor Blocks. This professional-quality paper is also a wonderful surface for inks and acrylics.

BLICK

®

DickBlick.com

800.828.4548

Paint the

City An Expert Guide to Light, Colors & Textures

5 Ways to Jump-Start Your Art NOW

QUICK TIPS

to Avoid a Mid-Tone Crisis FEBRUARY 2019

“I’ve been using Heritage for over a year and I l-o-v-e it! ” “It is a great paper! I have already painted several watercolors on this very good, very soft paper. ” “Awesome paper. It handles anything.” “I’ve loved Canson ever since I started painting and you’re making me love it even more with Heritage! ”

cansonpaper_northamerica #cansonheritage

Available at Fine Art Retailers

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

62

70

Unify your work with a strong value structure built on a grisaille underpainting.

John Bayalis’s depictions of everyday scenes are an ode to “Anywhere, USA.”

BY TIM SATERNOW

BY STEFANIE LAUFERSWEILER

New York City, Philadelphia, Venice and Bermuda “model” as muses for light, color, texture and atmosphere.

SEEING IN SHADES OF GRAY

WHERE LIFE AND ART INTERSECT

00

A PORTRAIT BY ANY OTHER NAME

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 side with nocturnes.

ON THE COVER

BY STEPHEN HARBY

21 Best Watermedia Paintings of the Year 28 Paint the City 46, 56, 62, 70 5 Ways to Jump-Start Your Art Now 26 Quick Tips to Avoid a Mid-Tone Crisis 12

88 OPEN BOOK Look to the figure as a source of endless inspiration. BY SUSAN WEINTRAUB

Get Social

Nocturne on the Grand Canal (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: 513/5312222. 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. Watercolor Artist will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 27, No. 1. Periodicals postage paid at Blue Ash, OH, and additional mailing offices. Postmaster: Send all address changes to Watercolor Artist, P.O. Box 421751, Palm Coast, FL 32142-1751. F+W Media, Inc. Back issues are available at northlightshop.com or by calling 855/842-5267. GST R122594716. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.

2

Watercolor artist | FEBRUARY 2019

Editor’s Note

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 Camille Pissarro and Claude Monet, for example, or Gustave Caillebotte. At the root of these memorable interpretations are artists with a personal connection to the places they’re painting. Tim Saternow is an artist who identiies with that kind of personal connection. hough he can appreciate the grandeur of other urban hotspots, he’ll never ind anything that captivates him like the visual excitement of New York City—a subject that ofers plenty of technical challenge. On page 56, Saternow describes the value-centric strategy he uses to make sense of the city’s overwhelming “cacophony of color, texture and shapes.” Artist James Toogood thinks of his city paintings less as landscapes and more like “portraits” of a place. On page 70, you’ll learn how the many moods and unique atmospheres of Venice, Philadelphia and New York City have inspired his work, and how these urban encounters ofer an interesting contrast to his painting experiences in the more laid-back environment of a tropical island.

Watercolor ARTISTSNETWORK.COM

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

ADVERTISING ADVERTISING CONSULTANT Mary McLane Northeastern, Western U.S. & International; 970/290-6065 [email protected] ADVERTISING CONSULTANT Kaline Carter Southeastern U.S.; 505/506-7698 [email protected] MEDIA SALES COORDINATOR Barb Prill 800/283-0963, ext. 13435; [email protected] DIRECTOR OF ADVERTISING SALES—FINE ART, WRITING + DESIGN Tony Carrini Office: 646/859-6599, ext: 12901; Mobile: 646/793-1424 [email protected]

F+W, A CONTENT + ECOMMERCE COMPANY CHIEF EXECUTIVE OFFICER Gregory J. Osberg CHIEF FINANCIAL OFFICER Kenneth Kharbanda SVP, GENERAL MANAGER F+W FINE ART, WRITING, OUTDOORS AND SMALL BUSINESS GROUP Ray Chelstowski MANAGING DIRECTOR—F+W INTL. James Woollam VP, CONSUMER MARKETING John Phelan VP, GENERAL COUNSEL Robert Sporn

John Bayalis captures a unique view of Havana, Cuba, in his painting, Havana Shop Window (22x30).

VP, PRODUCT MANAGEMENT Pat Fitzgerald NEWSSTAND SALES Scott T. Hill [email protected]

EDITORIAL OFFICES 10151 Carver Road, Suite 300, Blue Ash, OH 45242 513/531-2222; [email protected]

SUBSCRIPTION SERVICES P.O. Box 421751, Palm Coast, FL 32142-1751 US/Canada: 800/811-9834 Foreign subscribers: 386/246-3371 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.

4

Watercolor artist | FEBRUARY 2019

NEWSSTAND DISTRIBUTION Internationally distributed by Curtis Circulation Co., 730 River Road, New Milford, NJ 07646. Tel: 201/634-7400. Fax: 201/634-7499. Attention Retailers: To carry Watercolor Artist in your stores, contact: [email protected].

PRIVACY PROMISE Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with the magazine name to: List Manager, F+W Media, Inc. 10151 Carver Road, Suite 300, Blue Ash, OH 45242. Printed in the USA Copyright © 2018 by F+W Media, Inc. All Rights Reserved. Watercolor Artist magazine is a egistered trademark of F+W.

PHOTO BY CARA HUMMEL

You’ll also meet artists Wendy Artin (on page 46) and John Bayalis (on page 62), whose work demonstrates that towering buildings aren’t a requirement for paintings of the city. Artin’s paintings bypass some of the more iconic views of Rome, and other world cities, to depict instead the intricate columns and statues, and even graiti-covered walls. For Bayalis, the inspiration may be as likely to come from a busy suburban intersection as the bustling city center. When it comes to the city in art, these watercolor artists demonstrate a wonderful diversity of expression. So, if you haven’t painted a cityscape in awhile—or ever—this may be the time to grab your sketchbook and hit the streets! WA

1 1 T H A N N U A L I N T E R N AT I O N A L

YOUR PAINTING COULD WIN $2,500 AND WORLDWIDE RECOGNITION!

watermedia

showcase

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

Fire and Metal (detail; watercolor on paper, 22x30) by Stephen Zhang

4th Place: $500 Blick gift card 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

For a complete list of prizes, categories and entry details, visit:

artistsnetwork.com/art-competitions/watermedia-showcase/

number of entries you may submit. For additional guidelines and to enter online, visit artistsnetwork. 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 Missouri Watercolor Society International Exhibition in Qingdao, China, from June 15th through July 7th—the irst time our society had its annual international juried exhibition at a venue outside the United States. Juror Laurin McCracken selected works by member artists from six countries from the many exhibition entrants. he Chinese jurors of selection were Jian Chu; Long Ping; and Huizhan Li, the director of the Qingdao Laotian Art Museum. he awards judges were Dongfeng Li, professor of art at Morehead State University; Weixing Guan; and Huizhan Li. he awards ceremony was a success by any measure. It was attended by

6

Watercolor artist | FEBRUARY 2019

the awards jurors, countless Chinese oicials, local art lovers, and 44 American and Canadian artists and their spouses, who had spent the previous two weeks touring and painting their way through China, a fabulous experience. Dongfeng Li had arranged the tour, and I, as executive director of the society, helped him lead it. he exhibition, hung in the beautiful and expansive galleries of the Qingdao Laotian Art Museum, attracted considerable attention in China. Approximately $20,000 in

A group photo is taken of the Missouri Watercolor Society, with museum officials, the Chinese jurors and many of the traveling artists.

awards were given out, with the winners listed on a large wall panel. Huizhan Li and I gave a short talk to celebrate the artists and their incredible paintings.

New + Notable / FOR THE HOME / Orpington Linen Tea Towels [$34] This set of two tea towels features the paint-swatchy design “Watercolor Polka Dot In Indigo” by artist “dinaramay” and includes a hanging tab. Use them as studio workhorses to keep hands dry, and the towels will soften with use. .

Gauze Robe/ Watercolor [$280] Hand-painted with a limited run, this cotton doublegauze robe is just right for early mornings in the studio and readymade inspiration. Wear it with the belt, or keep the sides open for a fullday use duster. . 

/ ON THE SHELVES /

GAUZE ROBE PHOTO BY KRISTIN KARCH

Watercolour Flowers [$25] Perfect for the budding artist, Julie King’s Watercolour Flowers includes detailed instructions and six pieces of watercolor paper with drawings of tulips, hibiscus, sweet peas and other flowers. Just supply the paint! .

Art sts 'óI QEOI  ý M [  X V E us! ArtistsNetwork.com @ArtistsNetwork

Watercolour Landscapes [$25] Use Grahame Booth’s informative step by steps to dip your toes into watercolor landscape painting. Included are six pre-printed drawings on professional-grade paper, and hints and tips to get you started. .

ArtistsNetwork.com

7

Happenings / NEW TO VIEW / Maria Raczynska Shooting her videos from a bird’s-eye view and captioning her steps as she works, Maria Raczynska tailormakes her instructional watercolor videos for artists to follow along and learn from her technique. The videos are set to music, and each one includes her materials and palette. Raczynska’s preliminary sketches are often available for download. The artist publishes two new videos each week and has more than 230,000 subscribers. See her available downloads and other helpful links at mariamorjane.com. ./

/ MUST-SEE SHOW /

Watercolor: An American Medium Not always appreciated as the complex, 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 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 paper collection. WA .

8

Watercolor artist | FEBRUARY 2019

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

Chrysler Museum of Art, Norfolk, Va. February 21-June 23, 2019

Watering Time (1921; watercolor and gouache on paper, mounted to board, 28½x41) by Charles Ephraim Burchfield

) : 0  K  ô P %  4EMRX s p o h s k r o Onlinýe.SW LEðIW:P÷ýYMW [M

Join 100’s of fellow artists and “look over the shoulder” of our award-winning instructor Johannes Vloothuis as he simplifies terms and uncovers hidden gems rarely brought to the surface in landscape painting. At only $19.99, there is no better investment in your art. No hidden fees, no software to install—just the comfort and convenience of learning from your own home.

Each Paint Along spans across 3 Saturdays and offers: • 12+ Hours of LIVE instruction! • Demos in watercolor, oil, & pastel, but all levels and mediums will benefit. • An understanding of the 7 main principles to solve most composition problems. • Watch colors being mixed in real time.

• The ability to ask questions, live chat, and make friends with fellow artists. • Receive critiques from the instructor. • Everything gets recorded for you to enjoy on your time! • Satisfaction guaranteed.

ArtistsNetwork.com/paint-along

Anatomy of a Painting

Glorious Passages of Mingled Earth and Heaven J.M.W. Turner painted the atmospheric Chatel Argent and the Val d’Aosta From Above Villenueve while on a trip through the Italian Alps. By Jerry N. Weiss

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 satisied by a particular type of scenery. Turner was geographically omnivorous; he scoured the waterways, countryside, cities and mountains of Europe for material, and he found it seemingly everywhere. he location names on his watercolor sketches read like an ambitious continental itinerary: Naples, Venice, Heidelberg, Zurich, Lucerne, Geneva, Luxembourg, Paris, Harleur. If his travels had a recreational purpose, you wouldn’t know it. Turner cranked out watercolors obsessively and passionately, often carrying softbound sketchbooks that could be rolled up and stowed in his pocket. One of the many themes that fascinated Turner was alpine terrain and the architecture that sprang up on those mountainsides. Something about the placement of stone turrets and spires amid the diagonal crags or surmounting great vertical drops deeply resonated with the artist’s romantic nature.

10 Watercolor artist |

FEBRUARY 2019

Chatel Argent and the Val d’Aosta From Above Villeneuve (1836; watercolor and gouache over graphite, 10⅛x12) by J.M.W. Turner

Though the contention that Turner didn’t paint on site is hardly credible, his friend and advocate, the art critic John Ruskin, rightly admired the artist’s ability to suggest misty atmosphere: “… and if you yet have no feeling for the glorious passages of mingled earth and heaven which Turner calls up before you into breathing tangible being, there is indeed no hope for your apathy. Art will never touch you, nor nature inform.”

In 1836, Turner journeyed through the Aosta Valley, a mountainous region in northern Italy—and one of his favorite places. here he painted Chatel Argent and the Val d’Aosta From Above Villeneuve. Chatel Argent was a ruined castle that had been built in the 12th century. he artist’s response to the terrain engendered atmospheric studies more moving than the tourist snapshots and videos that have made the faraway familiar. A later generation of artists— Monet and Sargent notable among them—trod similar ground, but no one either before or since Turner has transmitted such an enchanting view of the European continent, always founded on observation and swift draftsmanship. WA Jerry N. Weiss is a contributing writer to ine art magazines. He teaches at the Art Students League of New York.

GIFT OF HAROLD K. HOCHSCHILD, 1940/THE METROPOLITAN MUSEUM OF ART

Turner used several reliable means to suggest spatial recession: color temperature, with the warmest hues in the near planes; variation in edges, with the contours softening in the distance; and overlapping shapes. The result is that each successive level of land seems increasingly swathed in a veil of atmosphere.

The surface of Turner’s watercolors was often complex, featuring washes, sponging, drybrush and finely hatched strokes. He made free use of both transparent and opaque paint, blurring the distinction between his watercolor and oil-based paintings. Here, broadly brushed passages alternate with detailed topographical observations.

Pencil underdrawing was integral to many of Turner’s plein air watercolors and can be discerned throughout this painting, especially in the tor, or high craggy hill, from which Chatel Argent rises. Ruskin believed that Turner drew on site, and only added watercolor to his sketches later.

In the lower right corner, Turner added the figure of a woman. She balances the dominant shape of the castle, helps establish a foreground plane and gives scale to the painting. She leans into the 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 notan featuring positive and negative

B

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 details to the scene. Watercolor paintings are usually painted light to dark, but I buck tradition. Instead, I paint the dark values using waterproof India ink and leave the paper white, where desired, to serve as the light values. his anchors the painting. All I have left to do is add the mid-tone colors. It’s really just that simple. If you want to experiment with a diferent technique—or if you’re going through a mid-tone crisis—give this easy process a try. Joe Cibere (joeciberewatercolors.com) employs abstract realism to integrate strong design and balance with a sense of illusion. He’s a workshop instructor and a signature member of the National Watercolor Society.

14 Watercolor artist |

FEBRUARY 2019

L LEFT I like the design o the black and of w white shapes a to me, and, that’s the key. T They serve as the foundation for what’s to follow. Using a v variety of im im mplements, s such as different s sizes of brushes, s sticks or a dry brush, b I’m able to get quite e expressive when p painting with India In n ink.

BELOW In First Light (watercolor on paper, 22x30), I could have turned the ink-first art (above) into a scene with any weather and light conditions; I chose a scape featuring purple-blues and yellow.

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

A

B

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

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 (watercolor 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 [email protected] 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

C

D

NE

N OR TH A MER I CA

1Sellin

#

Featuring our New

WP

ROD

UC

T

Exclusive Shower Package

Now you can finally have all of the soothing benefits of a relaxing warm bath, or enjoy a convenient refreshing shower while seated or standing. Introducing Safe Step Walk-In Tub’s exclusive NEW Shower Package!  First and only walk-in tub available with a customizable shower  Fixed rainfall shower head is adjustable for your height and pivots to offer a seated shower option  Durable frameless tempered glass enclosure available  High-quality tub complete with a comprehensive lifetime warranty on the entire tub  Top-of-the-line installation and service, all included at one low, affordable price

Now you can have the best of both worlds–there isn’t a better, more affordable walk-in tub, that is made in the USA!

Call today and receive a

FOR A LIMITED TIME ONLY

Call Toll-Free 1-888-658-7855

With purchase of a new Safe Step Walk-In Tub. Not applicable with any previous walk-in tub purchase. Offer available while supplies last. No cash value. Must present offer at time of purchase.

1-888-658-7855 FINANCING AVAILABLE WITH APPROVED CREDIT

N THE U.S.A EI .

www.BuySafeStep.com

For your FREE information kit and our Senior Discounts, Call Today Toll-Free

MA D

FREE SHOWER PACKAGE!

W IT

H P RID

E

CSLB 983603 F13000002885 13HV08744300

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 an imprint of f+w, a content + ecommerce company

Watercolor Essentials

Going Gray Harness the power, or embrace the subtlety, of this versatile hue by mixing your own versions using primary colors. By Keiko Tanabe

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 crimson) and yellow ochre combination, with the former being more dominant to create the gray areas, worked well to capture the mood.

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 yinyang 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

Shades of Gray

Yellow Ochre

Alizarin Crimson

French Ultramarine

Warmer

Cooler

Alizarin Crimson

French Ultramarine

Yellow Ochre

Green (French Ultramarine + Yellow Ochre)

Orange (Alizarin Crimson + Yellow Ochre)

Purple (French Ultramarine + 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

+

+

To mix a basic gray, I use three primary colors, such as alizarin crimson for red, yellow ochre for yellow and French ultramarine for blue. The color temperature can be made 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.

Intrigued and inspired by the soft warm glow in this sky before sunset, I wanted orange to permeate Venice Market II (watercolor 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 beautiful 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 complementary 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.

pops when neutrals surround it, while a dash of a cool hue stands out among warm hues. Gray can be subtle or make a strong statement. his color isn’t simple, but we can take advantage of its complexities and evocative quality to create mood and atmosphere in a painting. Here, I’ll explore the power of gray and explain my paint combinations for mixing and using warm and cool grays.

HOW TO MIX GRAYS Learning how to work with gray can breathe more life into our art. But, to maintain the transparency of watercolor, we don’t want to add white to black to make gray. And, while they’re lovely colors, using pre-mixed grays such as Payne’s gray or Davy’s gray can look lat if they’re overused in a painting. So, what to do?

Keiko Tanabe (ktanabeineart.com) is an award-winning painter, author and workshop instructor. She’s a founding member of North American Watercolor Artists, a signature member of the National Watercolor Society, and a member of the American Watercolor Society and the American Impressionist Society, Inc.

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 yellow to apply an initial wash for the middle of the street. I then surround it with slightly darker values of warmer, muted colors comprised of alizarin crimson, cobalt blue and burnt sienna.

As the initial wash dries, I quickly add even darker values of grays—comprised of burnt umber and French ultramarine—on both sides of the street.

Step 3

Step 4

I paint the sky and upper part of the buildings using light tones of warm yellow ochre and alizarin crimson, keeping colors blended here and there, but clean.

I place cobalt turquoise above the buildings on the left side to cool the color temperature slightly.

SPONSORED BY SAVOIR-FAIRE – IMPORTER OF FINE MATERIALS FOR THE ARTS. WWW.SAVOIRFAIRE.COM

22 Watercolor artist |

FEBRUARY 2019

Watch Keiko Tanabe paint this scene from start to finish in a Facebook Live watercolor demo hosted by artistsnetork.com and sponsored by Savoir-Faire: bit.ly/TanabeWatercolorDemo.

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

Execute a Plan LAURIN MCCRACKEN: Last year I wrote my first business plan. In it, I determined how much I want to earn from my paintings. I then researched the galleries that could help me get there. My goal for 2019 is to execute that business plan. To do so, I’m expanding the portfolio of certain paintings I think those galleries will favor. It’s all part of an ongoing goal to find new and challenging subjects to paint. To continue to grow, I believe I must continually learn, modify and change my art. 26 Watercolor artist |

FEBRUARY 2019

To paint or draw daily is my primary goal. Setting aside ‘playtime’ a few weeks a year is another.

“

—KATHLEEN CONOVER

”

Tell a Story With Power ANTONIO MASI: I’ve been commissioned to do a book about immigration to America. Being primarily an urban structural painter, I look forward to integrating the figure more into my work. I’m also anticipating the inclusion of the iconic Ellis Island and Statue of Liberty and their symbolic importance to the people who left their home countries to begin again in America.

PHOTO BY MELISSA GOODWIN/GETTY IMAGES

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 they might influence my work.

Team Up

Find Balance KATHLEEN CONOVER “Balance” is the code word for my artistic goal-setting. The “administrivia” of being a professional artist—teaching, gallery ownership, exhibition and competition entry, etc.—can bulldoze over all creative energy, if not checked. To paint or draw daily is my primary goal. Setting aside “playtime” a few weeks a year is another. This year’s playtime goal is to go large—to get out the acrylics and work on large, dynamic non-objective compositions. To make way for these objectives, one of my business goals this past year was to hire a bit of help—a young techie—and she has been doing a great job.

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 such efforts. The first is with my longtime friend, Hiroko Yoshimoto, to work as a “collective” under one theme. There may even be pieces on which we work together. We’ve already been meeting for lunch, as we live only 35 minutes apart. We’ve had a great time working and planning this exhibit, aiming for an opening in 2020. Another project I’m doing involves six other abstract painters. These are artists from across the country, several of whom have done work I’ve long admired. Our goal is to exhibit together in museum venues. So far, we’re still in the formation stage, but we already have a website: abstraction21c.com. The next step for this will be critical 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 layering 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 palimpsest of emotions so indicative of the best art.

Transparent Watercolor Society of America Xiaochang Zhang San Ramon, Calif. Mother—Hong Kong (watercolor on paper, 40x30)

28 Watercolor artist |

FEBRUARY 2019

“My inspiration for this painting was my mom. I traveled to Hong Kong in 2014 and saw an old lady when I was strolling down the market. At the time, I was deeply impacted by that scene. For a moment, I thought I was seeing my mother again. My mother passed away when I was young. She was busy and had to take care of the family. There were too many stresses on her, so she suffered from illness in her later years. This piece represents my yearning for her. I’ve seen so many mothers spend their entire lives with their children. The old woman I saw in Hong Kong was definitely one of them. “I used high-contrast color to indicate my strong emotional response. If I would’ve used only low-saturation colors, then it wouldn’t visually astonish audiences; therefore, I exaggerated the color contrast and value differences. The stable composition is created by a triangular shape of the three primary figures.”

“Zhang’s painting is filled to the brim with interesting detail. Every inch of the surface is fascinating. While this sounds positive, it can also be the downfall of a finished work. Too much information can lead to visual chaos, but by carefully prioritizing the surface, leading the eye from the least to the most important aspects, Zhang avoids that pitfall and leads us into an exotic slice of Hong Kong life.” — JOHN SALMINEN, JUROR

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 Watercolor Society Anne McCartney Edmonton, Alberta, Canada Art for Art’s Sake (watercolor on paper, 15x30)

“While wandering Rome with my family, a long line outside an impressive building caught my attention. It was for an exhibition of two of my favorite artists: Vermeer and Rembrandt. I would’ve loved to have seen this exhibit, but I was sure that my family wouldn’t relish the idea of yet another museum or art gallery, so all I was able to capture of the moment was a photo. The thought of creating art about people enjoying art seemed important to me. “I wanted the entrance to the museum to be my point of interest—the place at which the art lovers would begin their appreciation. There are lots of design elements used to make this focal area work—strong contrast and heightened detail being two of them. I love burnt sienna and MaimeriBlu’s permanent violet reddish. I also use a wide variety of blues and reds, mostly Daniel Smith products. I love these paints for the granulating properties, which you can see on the weathered façade of the building. “When I first started painting 15 years ago, I wasn’t quite sure where it would take me. I certainly never dreamed it would be to New York City to receive one of the most prestigious awards for watercolor. I love participating in competitions and the many international exhibitions that I do. It’s wonderful to connect with artists from around the world who love watercolor as much as I do. I’ll continue to do this, and hope to broaden my circle in Europe and Asia.”

“I was impressed by the high level of technical skill and detail rendered in Art for Art’s Sake. The embellishment of warm and cool colors drew me in and made me look carefully at the figures. I can sense their excitement about viewing a major exhibition. The barely suggested figures and dark values on the left give the piece a sense of mystery and intrigue. It’s a truly wonderful and unique painting.”

JUROR TIP: “Don’t pay much heed to the painting style of a competition 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, JUROR

—ROBERT O’BRIEN

ArtistsNetwork.com 31

Pennsylvania Watercolor Society Angela Lacy Rockville, Md. Rainy Day in Vancouver (watercolor on paper, 14x19½)

“I’ve always loved city street scenes with buildings and people hurrying around. When I was visiting Vancouver and saw this scene from the window of a car, I was struck by the contrast of backlit people crossing the street with the gray sky. It shows just a hint of sun coming out on a gloomy, rainy day. “Using a restricted palette of primary colors, I pour layers of transparent watercolor to slowly build variations in hue and value as I develop compositions focused on light and dark. I use a limited palette because I can create unity and balance by only using primary colors. I like the simplicity of it. I vary my primary colors depending on the subject matter. “I’m a value painter rather than a colorist, so I enjoy the pouring technique. It allows me the freedom to build up color values in a natural way. I improvise when pouring and tilting the paper to allow the paints to mingle and blend. My process requires careful application 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

“I can imagine Lacy’s Rainy Day in Vancouver hanging in my own living room, which is an easy way to choose award contenders. It may sound subjective, but personal taste is important. If this painting were hung on my wall, I’d enjoy viewing it every day. ” —RON THURSTON, JUROR

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 hardest worker in the United States—and the gray dust gleaming 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 painting people in the same professions but spanning different countries, as I’ve done with miners. “It’s a great honor to win this award, both for my watercolor 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.”

“Li’s painting is a beautiful example of the perfect blend of both form and content. The quality of the mark on the page gives the piece a wonderful surface, 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

JUROR TIP: “Send work that represents your heartfelt best. Then, once a painting makes an appearance, retire it. Resist the temptation to re-enter work. Instead, go back into the studio to make another great painting.” —JOHN SALMINEN

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)

“What attracted me to Mario is the way in which it challenges the conventional notions of artistic beauty. While not ‘beautiful’ in the traditional sense, Jorge exploited the medium’s full potential to create an uncompromising hyperrealistic representation of the sitter’s appearance. As a study of the ravages of time, Mario’s face emerges from the paper support like an apparition—a dappled arrangement of subtle color graduations that transform his closely scrutinized features into a beautiful study of form, color and texture. Although Jorge’s tightly controlled representation 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.” —D. SCOTT ATKINSON, JUROR

“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 proliferates. Mario [88 years old] is part of a project I started in 2012, which aims to draw the attention 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 the eyes are the mirrors of the soul, cliché or not. “The fact that my work was selected for the NWS 98th International Open Exhibition was already a reward, but when Penny Hill phoned me to say that I’d won a prize, I didn’t even want to believe her. I was speechless and felt like I was in the clouds. It was fantastic and very emotional. The award represents an incentive for me to continue my work.”

JUROR TIP: “When judging a watercolor competition, I’m looking for those characteristics that demonstrate both an understanding 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 concept for this painting took a month. I wanted to show the typical Haitian home, and the paint running at the bottom 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 summer and even found my subject, Clairment. She brought her twin sister, and I was so excited to see them happy and healthy. The background subjects are others I met who left an impression on me. My wife and I continue to build these relationships to this day.”

JUROR TIP: “The most important piece of advice for artists entering competitions 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, emotional content is the ‘queen of hearts,’ and she still rules the palace.” —KATHLEEN CONOVER

Canadian Society of Painters in Watercolor David McEown Vancouver, B.C. Surfacing (watercolor on paper, 30x22)

Colorado Watercolor Society 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)

“A strong abstract understructure is essential to a strong painting, whether or not the finished painting is representational. Salminen’s painting is unquestionably a superb abstract painting, but includes that little bit of reality we all enjoy.” —KATHLEEN CONOVER, JUROR

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

40 Watercolor artist |

FEBRUARY 2019

“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 direction, 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 palette gets dirtier, the resulting ‘mud’ becomes a great vehicle for creating rich grays. The final addition is the inclusion of small bits of pure intense color to serve as accents.”

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 background to keep the composition in motion. “One of the first things I think about before painting is the color palette. I generally use a very limited palette. Many times I use a complementary theme, but with this painting, it was analogous 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 wonderful path that’s led me to where I am, and I’ll paint hard and continue to walk this road.” WA

“On my visit to Old Forge to serve as juror of awards for View Art’s Adirondacks National Exhibition of American Watercolors, I was confronted by the always daunting task of selecting the top award. Krupinski’s painting, Lemons, Grapes and Pitcher, made that task a bit easier. She not only created a beautiful composition coupled with an outstanding rendition of light and shadow, but she captured those equally difficult qualities: that of moisture on those luscious grapes and a sense of crispness. She made you really want to pick one off and pop it in your mouth. It’s an excellent example of what can be done with the watercolor medium in the hands of an exceptionally skilled artist.”

JUROR TIP: “In any art competition, there will be works that stand out immediately to the juror after the initial walkthrough. Those usually end up winning the top awards. Painting a piece that has impact, whether through striking composition, dramatic lighting or an unusual subject, will increase the odds of ending up with an award.” —DOUGLAS WILTRAUT

—DOUGLAS WILTRAUT, JUROR

ArtistsNetwork.com 41

Painting Under the

Tuscan Sun NO N O SSURPRISE, URPRISE T THERE 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.

ALL PHOTOGRAPHY BY STEPHANIE ADAMS WOOD.

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. 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 lead me to find my “voice” with which to express on my canvas what I see and feel. — Janet Weir

• First, decide what’s most

important. Plein air can be difficult. There’s just so much out there to choose from! Tom showed us how to decide what’s important and then build the painting around that in such a way that everything else complements it. — Margaret Park

• Bring attention to the focal point. I learned how I can use a contrast in values to highlight a painting’s focal point. — Candace Stephens

• Use the white of the paper. Tom stressed that the white of the paper is the source of light within the painting and then showed us how to use that fact. He demonstrated how to place complementary colors throughout the painting so that they bleed into one another, creating visual interest, depth and beautiful neutrals. — Margaret Park

The buildings and grounds at Spannocchia supplied plenty of inspiration for Schaller and workshop attendees. “I loved the way the different parts of the landscape glowed at different times of day,” says Katherine McGah. “In the early mornings, the fog was the primary show; during the day, the shadows on the buildings and lawns; in the evenings, the sunsets cast a beautiful light on everything.” “My favorite thing about painting in Tuscany was the interplay between the ancient walls and the various greens in the scenery,” says Karen Petras. For Janet Weir, the beautiful Tuscan landscape was “a daily palette of inspiration,” but the environment catered to other senses as well. “There were also the sounds [my morning rooster call] and the Italian cuisine,” she says. “Painting in Tuscany is like painting from inside a painting,” says Margaret Park. “Everywhere you look, there’s something beautiful—from the ancient stone buildings with trailing grapevines 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 lucid observation, sensitive touch and energetic handling of watercolor. Working primarily in Rome, she manages to convey all the splendors of sun on ancient stone; the delicate detail of tiled roofs, weathered columns and domes; and the majesty of parasol pines. She accomplishes this by using watercolor in its most glorious form: fresh brushstrokes, blooms, loods, puddles and blends that somehow combine to re-create a compelling light-illed world.

INTELLIGENT EYE & FLUID HANDLING Beyond her cityscapes, Artin brings a combination of intelligent eye and luid handling to a variety of subject matter—igures, statues, walls, cars, columns and more. Often working in long series, she inds that each subject elicits a somewhat diferent response. She paints igures minimally, with deftly chosen tones and dissolving edges that allow the image to emerge from the white of the paper.

Her cityscapes fall into two main categories: topographical studies in monochrome that can include intense observation of architecture, and fullcolor closeup paintings of walls festooned with graiti and posters. Unlike the igure studies, these paintings often delight in a wealth of information and a rich serving of detail. Meanwhile, the artist’s paintings of sculpture fall somewhere in between. More completely described than her igural work, they retain a similar clarity of form and a sense of purity. All of Artin’s works project a comprehensive and present sense of light, and a pervasive luminosity that 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 suddenly 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 engagement 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 rendering 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 the power of suggestion and the delight of precision. “What I really most want with a cityscape is for it to capture the essence of the place—the light and the form—in a way that’s precise enough for it to look exactly right, but also loose enough to please me tactilely,” says the artist.

MARKS & ILLUSIONS To achieve a balance between exactitude and the more suggestive qualities of watercolor, Artin usually makes a number of small preparatory sketches before launching into a painting. hey help her establish the composition and basic proportions, giving her an early sense of how the image will read. But working small

“I LOVE THE WEIRD, RANDOM COMBINATIONS OF IMAGES AND WORDS THAT CAN FLOW TOGETHER LIKE AN ABSTRACT SYMBOLIST POEM.”

50 Watercolor artist |

FEBRUARY 2019

and fast also provides an opportunity to make some special magic. “I like for the marks on the paper almost to compete with the illusion that’s created,” Artin says, “so that you’re always on the edge of that moment of recognition, which I ind exciting. You go back and forth between ‘now it’s a shape of a watercolor puddle; now it’s a dome; now it’s just a wash of sepia watercolor; now it’s a row of treetops.’ ” his condition of paint marks teetering on the brink of recognition as objects is apparent in Putto (on page 48),

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 brushmarks 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 brushwork 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 pencil. “If I started with a pencil line, then I’d get too involved with the drawing.” She establishes the major proportions, 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 they’re loose enough to be interesting. I usually can work for two to three hours before the light changes so much that it’s impossible to continue. If the weather holds, I return to the same spot the next day and beyond until I complete the painting.”

STATUES AS FRIENDS Artin’s paintings and drawings of statues are natural extensions of her cityscapes. “Just as the cities are everyone’s cities, statues are everyone’s statues,” she says. “hey’re like each person’s friend in a city—friends who represent and express something for

each person. I love that cities belong to so many diferent people, and that so many diferent lives intertwine and intersect in so many diferent ways, and yet there are always the same references. he statues are so accessible—such large ‘people’ populating the piazzas, the façades, the bridges, totally absorbed in their role. Personally, I can’t help but see them as alive, yet, at the same time, surprisingly and reliably immobile.” When drawing or painting statues, Artin takes on the challenges of rendering complex form in space. In Ganges (on page 49), she deploys a broad charcoal attack to create a variety of line and tonal qualities.

Toolkit PAINTS

• primarily Winsor & Newton, but also Sennelier, Schmincke, Holbein, M. Graham and Daniel Smith SURFACE

• Canson Mi-Teintes, Rives BFK, Arches watercolor, Khadi, Fabriano Roma “… and a few other terrific watercolor papers from Amalfi,” Artin says. BRUSHES

• Escoda. “I’ve never tried a brush by Escoda that wasn’t marvelous.”

ArtistsNetwork.com 51

ABOVE Shield and Mane (watercolor on paper, 41x49)

he drawing intensiies in the head and the hands while falling away in the drapery. he artist uses an eraser to pull out the lights in the forms, which increases their power and contributes to the general sense of strength and clarity that pervade the piece. Artin’s fascination with statues led her to paint a series of watercolors of the Parthenon frieze, depicting sections from both the British Museum collection and the Acropolis Museum, in Athens. In Shield and Mane (above), she captures the glories of the sculpture with its dynamic movement and ine detail still evident among the chipped and fractured stone. here’s always a risk in rendering another work of art, a chance that the new piece will be compared unfavorably

52 Watercolor artist |

FEBRUARY 2019

with its subject. But in this case, we sense the strength of Artin’s engagement with the ancient work; the power of her observation spurs us to look more closely ourselves.

ON THE WALL Artin’s paintings of walls have a completely diferent feel. Entirely frontal and painted in color, they present the viewer with a closeup account of a surface. We’re invited to contemplate the accumulation of popular posters, signage and graiti in a variety of cities, including New York, Paris, London and Rome. “I love the way the walls describe daily life in a city: storefront grates, tattered signs, graiti,” says Artin. “hey show what

RIGHT Watching Wall (watercolor on paper, 11x15)

some people thought was so important that it had to be made public. I love the weird, random combinations of images and words that can low together like an abstract symbolist poem.” In these works, Artin captures the texture and substance of masonry, piping, grills, meshes and any other furnishings that appear on the wall. he subjects also present some technical challenges, including rendering the characteristics of other media, such as spray paint, stenciling and ofset printing.

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 (on page 47), the artist depicts a doorway in New York City in which posters and graiti cling to metal and wood panels. he “Active Doorway” sign provides an urgent reminder that the entry does actually function. he accretion of posters has left a partial view of John Lennon and Yoko Ono, as well as a peculiar threelegged soccer ball and a picture of Muhammad Ali.

Although Artin generally concentrates on conveying the world as she inds it, she occasionally makes adjustments for poetic or aesthetic reasons. In this painting, she removed a picture of a rapper, replacing it with that of the boxing legend. hroughout the painting, there’s an excitement in the tension between the care and sensitivity of the rendering and the rough crudity of the subject.

A similar set of forces is in play in Watching Wall (on page 53), a corner of New York City’s Soho district, where graiti and torn posters appear on a roughly textured surface. he artist has taken on the further complication of a green hydrant, whose angled neck features a pair of plugs that form a sort of eerie robotic face. Other pairs of eyes seem to emerge from the posters and graiti. he 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) showcases 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 certain 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 work by loving it,” she says, “saying it’s exactly right. his is the essence of the thing I’m painting—that people love the marks, the way that watercolor seems to do it by itself—and that they want to look at the drawing or painting again and again. I hope that the pictures will make people return to moments of visual joy— to appreciate, for example, the dark, frothy parasol pines, and the gorgeous rust stain beneath a drain pipe.” WA John A. Parks is a painter, a writer and a member of the faculty of the School of Visual Arts in New York.

Meet the Artist Wendy Artin (wendyartin.com) was born in Boston, and was an avid artist as a child. “Drawing was a way to keep myself entertained in the museums where my parents brought me, a way to express myself as an awkward teenager,” she says. She attended a liberal arts college “for practical purposes,” majoring in French literature at the University of Pennsylvania while filling her free time with art classes. Afterward, she attended art school, first at the École des Beaux-Arts, in Paris, and then for a master’s of fine art at the School of the Museum of Fine Arts at Tufts University, in Boston. She spent some time traveling and painting in 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 Kelsey Museum of Archaeology, at the University of Michigan, in 2015. Her work is represented by Gurari Collections, in Boston, and the Galerie du 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.

I begin all of my paintings with a value-pattern underpainting that, by unifying the image, helps me realize a large number of important compositional considerations. First, the underpainting establishes volume and depth—especially atmospheric or aerial perspective. Second, it creates my focal point. hird, it forms true depictions of light and shadow. And, inally, a value-pattern underpainting generates a dramatic, emotional impact, especially when using high-key contrasts.

The Power of Grisaille he technique I use to create this underlying value pattern is called grisaille underpainting. Grisaille (pronounced like Versailles) means “grayness” in French. Historically, works created completely in ranges of achromatic gray were seen in medieval- and Renaissance-era frescoes and devotional triptychs that depict minor saints, architectural elements or trompe l’oeil statues. (See “Great Feats of Grisaille” on page 60).

VALUE IS THE STRUCTURE THAT HOLDS MY PAINTINGS TOGETHER, AND IT’S THE FIRST PAINT I PUT DOWN ON PAPER. 58 Watercolor artist |

FEBRUARY 2019

CLOCKWISE FROM LEFT I find that a careful pencil drawing is essential. It keeps me from worrying about the details or composition while painting. Sunlight and cast shadows are important elements in my compositions. Not only do they provide great diagonals, they increase the sense of distance and drama as seen in this grisaille stage. For the finished painting, Irving Place, Con Ed Tower (watercolor on paper, 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 places where I knew the sun would strike to provide the bright local color of the brick and stone.

Great Feats of Grisaille

ART RESOURCE, NY

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 Altarpiece, 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 paintings inside.

John the Baptist, a detail from The Ghent Altar polyptych with the Adoration of the Lamb 1432; grisaille from the workday panels. Oakwood, 58¾x21½

60 Watercolor artist |

FEBRUARY 2019

Achromatic painting was quicker and less expensive 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 underpainting 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 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 initial grisaille layer, or value pattern. he Winsor & Newton Payne’s gray isn’t a true achromatic gray, but rather a deep gray-blue (a mixture of ultramarine, Mars black and sometimes crimson). I love it for its richness and depth. I sometimes decide my painting is inished at the underpainting stage—without adding any local color.

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 underpainting 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 LEFT Working on Arches triple elephant size rough paper, I start with a careful perspective drawing in pencil, and then add the first layers of Payne’s gray as a value composition. I leave the paper white where I know I’ll want pure, bright local color. ABOVE I want the sign to be the focus in Psychic Reading, West 27th St. (watercolor on paper, 60x40), so the depth and lightness of the sidewalk lead the eye in that direction. I also needed more dark values, so I layered Payne’s gray and sepia to create rich darks.

In his large urban watercolors, award-winning artist Tim Saternow (timsaternow.com) reveals the fleeting beauty of the old factories and gritty streets of New York City. His work has been exhibited in numerous galleries throughout the U.S. and internationally, and has been featured in a number of art publications, including the competition series, Splash, Volumes 12, 13 and 18. Saternow teaches workshops on painting, drawing and linear perspective in New York City, and in workshops at the Art Students League of New York. The artist is represented by the Kobalt 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 railroad 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.

The Appeal of Anywhere Bayalis was impressed early on by the cityscapes and rural scenes of Edward Hopper, Norman Rockwell and Andrew Wyeth, and later by photorealistic painters Richard Estes and John Baeder, whose urban landscapes he saw on trips to New York City as an art student in the 1970s. “I decided to try my own version of the urban landscape featuring views of my hometown in Wilmington, Delaware,” he says. “I found the window relections and street scenes a good it for my detailed style.” His interest grew while living in Milford, a small Delaware town where he painted and taught art for 30 years. “he street scenes and the vernacular landscape outside of town opened up a wealth of painting subjects.” Bayalis’ travels have taken him as far as Ireland and Cuba, but his painting inspiration still derives from much closer to home in St. Petersburg, Fla., where he and his artist wife, Margaret, moved in 2013. “he speciic locations often aren’t as important to me as a more universal look—a view of ‘Anywhere, USA,’”

64 Watercolor artist |

FEBRUARY 2019

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 (watercolor on paper, 16x30). “I lightly scrubbed the edges to lift some color and soften them for a smoother transition,” he says. RIGHT Beach Drive at Sunset (watercolor on paper, 18x30) presents the old elements of St. Petersburg, Fla., with its rising new skyline. “The amount of street surface made it important to use colors and gradations that kept that area interesting, without dominating the painting.” PREVIOUS SPREAD The southern Delaware scene in Moonrise (watercolor on paper, 16x30) is a nod to the American landscape to which Bayalis is attracted. “I like to include all the commonplace or ‘vernacular’ objects, like signage, phone poles and wires.” His wife, Margaret, who waited patiently as he took reference photos, appears on the far left.

Bayalis says. “I’ve often gotten reactions from viewers who were sure that I had painted the scene in their hometown.” In his interpretations of city and suburban life, Bayalis embraces what he calls “the disappearing American landscape”—pieces of popular culture and signs of the present day that may be gone tomorrow. For example, the World Liquors store in Central Avenue at Dusk (at left) was sold and demolished shortly after Bayalis completed the painting. He’s also drawn to speciic lighting scenarios related to the time of day and the weather. “hese are situations we can all relate to, sometimes more subconsciously,” the artist says.

A Balance of Tight and Loose Solid planning is crucial to Bayalis because it allows him the freedom to make changes later. He develops a workable photo composite on his computer, leaving out distractions that interrupt the composition’s unity, but largely aiming to paint things as they are. He then transfers a printout, scaled up to the size of the painting, to hot-pressed paper. He prefers this surface partly for the ease of drawing crisp detail on it, a discovery he made when attempting to add crossword puzzles and other lettering to one of his still life paintings. “I transfer the basic image by toning the back of the photo with graphite and then redrawing over it onto the watercolor paper to pick up essential elements,” Bayalis says. “I add more details as needed before starting to paint.”

Toolkit SURFACE

Bayalis prefers Arches hot-pressed watercolor paper. “I’ve got to use 300 pound,” he says, “because it’s thick enough that I can really soak it and saturate it with layers of color. My fog paintings require a lot of wetting. They’re soaked with water and carefully layered to get those irregularities I want in the sky, and even in the foreground.” PAINTS

Bayalis likes Sennelier’s tube watercolors for their density. “Their warm colors, in particular, are rich and bright.” He also uses Holbein and Winsor & Newton, especially cooler hues such as cerulean blue, manganese blue and violet. Green tube colors run the risk of appearing too artificial in a landscape 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 luid washes that create gradations and subtle value changes, and the tight rendering of the detailed areas that inish the painting. “For my painting to be a success,” he says, “neither of these can overwhelm the other, but instead need to work together.” Bayalis, who studied oil painting at the University of Delaware before trying watercolor, isn’t a rigid proponent of a limited palette, but he does avoid complicating the process with too many colors, and he isn’t timid when it comes to application. “I work with the knowledge that I can always tone down an area that’s too bright, but I can never brighten what’s too dull.”

An Invitation to Participate One subject you won’t see much of in Bayalis’ artwork is people. “I’ve used people in some of my street scenes, but I think, in general, viewers connect to the scene by placing themselves into it when there aren’t any people present,” he says. “I believe that it enhances the reality of the experience. When we look at paintings, we’re total spectators unless such a connection is made.” Stefanie Laufersweiler is a freelance writer and editor living in Cincinnati.

66 Watercolor artist |

FEBRUARY 2019

RIGHT Summer Rain (watercolor on paper, 16x30) is the first painting for which Bayalis used a smartphone photo as reference; it was taken at a stoplight. “I realized that an interesting composition was right in front of me, and took photos as I waited for the light to change,” he says. He was captivated by the lighted signage, the positions of the stopped vehicles and the abstract patterns on the wet pavement. “It was essential to keep the road reflections on the right side of the painting both fluid and soft to make the scene work.” BELOW “Maintaining the desired level of brightness and color without making it too garish is a challenge,” Bayalis says of Afternoon Showers (watercolor on paper, 18x30), featuring tropical greens against volatile gray-purple skies. “Green is a particularly difficult color to work with. Balance is very important.”

Meet the Artist

Bayalis’ still life paintings are similar to his landscapes in their nod to iconic elements of Americana. Awake (watercolor on 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.”

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 Woodfield Fine Art Gallery, in St. Petersburg, Fla.

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

I

think of my landscapes as if they’re portraits—“portraits of places.” Some of my most constant landscape muses have been the cities of New York, Philadelphia and Venice, plus the island of Bermuda. hese distinct locations have provided me with the opportunity to explore an endless variety of atmosphere, light, color and texture, enhanced by seasonal variations and changing times of day. Water is integral to both Venice and Bermuda, in more than one way. For instance, both Venice and Bermuda are humid. he moist air impacts visibility constantly in both locations, whereas it only occasionally afects Philadelphia and New York City in a signiicant way. Humidity can both intensify and diminish visibility. On the other hand, a location’s latitude, or how far it is from the equator, afects how we experience light. Venice is the most northern of my muses; New York City and Philadelphia are on similar latitudes; and Bermuda is the most southern, sitting several hundred miles of the coast of the Carolinas. he abundant sunshine makes Bermuda the most naturally colorful, while the

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 Bermuda. Stockdale founded the island’s first newspaper. The composition, in a vertical format, reinforces the narrowness of Printer’s Alley. OPPOSITE Blizzard on Fifth Avenue (watercolor on paper, 30x22) is a north-facing painting of Fifth Avenue at 12th Street in New York City. The cold, dense atmosphere obscures color and distant buildings. It’s a tonalist painting in some ways. I placed the figure in the lower right of the composition in stark contrast 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 depicts a time of year very close to “Manhattanhenge,” when the sunlight cuts directly across Manhattan. The challenge was to depict the chiaroscuro light and dark, while maintaining clear visibility in both areas. Primary colors in the signage, taxis and pavement dominate the saturated color palette. OPPOSITE Cosi (watercolor on paper, 14½x11½) has an almost Mondrian-like abstraction. Various reflective surfaces combine in this painting of a restaurant in Philadelphia to show, not just what’s in front of us, but the buildings behind us as well. The strong colors vibrate.

72 Watercolor artist |

FEBRUARY 2019

others typically rely more on manmade color and texture. Similarly, the beauty of natural textures dominates in Bermuda. I consider all of these aspects and more to get to what I feel are the essential qualities of each location. I carefully compose and execute each painting using multiple layers of color over an initial drawing. hey’re done in the studio from plein air studies and photos. In spite of the fact that cities are often teeming with people, many of my city portraits have few—if any—people in them for several reasons. Primarily, I like to portray the environment itself, create a sense of quiet, and attempt to build a connection between realism and abstraction. When I do choose to incorporate a igure, it’s not random; igures are carefully considered and crucial to the storytelling. Although I highly develop my paintings, I hope that they’ll occasionally leave the viewer with a sense of ambiguity.

Philadelphia and New York City I live just outside Philadelphia and a short drive away from New York City. With such easy access, both locations have provided me with endless inspiration, ample 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.

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 meaning of the word, are stunning. he beautiful and elegant palazzos, grand piazzas, maze of narrow alleys and crumbling buildings make for a beauty that’s both enchanting and poignant. he light in Venice reads as ethereal. It’s soft, delicate and full of atmosphere, 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 in the relections.

I’ve been to Venice during the months of May, September and 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-inresidence. 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 Bermuda. The arrangement of indigenous coral limestone and aqua-blue water routes the viewer’s eye from the shallow eddies in the foreground off into the distance. The red and white boat acts like an arrow, pointing to the rocks in the distance, which, in turn, point to the ocean beyond. OPPOSITE 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.

Meet the Artist James Toogood (pafa.org/toogood) teaches at the Pennsylvania Academy of the Fine Arts, in Philadelphia, and previously taught at the National Academy of Design, in New York City. He has had numerous exhibits of his watercolors in Bermuda, including three at the Masterworks Museum of Bermuda Art.

ArtistsNetwork.com 77

Bright Ideas

It’s Sunset Somewhere

Thames After Homer (London) (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 fascinating and exciting challenge when the chosen medium is watercolor. his medium, which is all about light and transparency, would seem to be counter to the demands of representing a scene layered with dark tones and only glimmers of light, whether from the moon or the artiicial illumination of lamps or candles.

78 Watercolor artist |

FEBRUARY 2019

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 1870s (see Nocturne in Blue and Gold: Old Battersea Bridge, opposite). he results hardly met with universal acclaim, and the great art critic John Ruskin was so condemning that Whistler sued him in court—and won! Much earlier, the 17th-century

Italian artist Caravaggio had pioneered the representation of dark scenes dramatically lit by a bright source of light, such as a candle. his came to be called chiaroscuro, literally, “clear/obscure” or “light/dark” (see he Calling of Saint Matthew, opposite). I’ve painted many nocturnes featuring landmarks around the world, but my eforts began with the subject of the hames; I set out to copy a watercolor by a great master, Winslow

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 doubt, inluenced Homer’s work. Copying the work of an admired master is a great way to learn. In doing so, one dissects and reverseengineers the process the original artist used. In this case, I learned that in order to achieve the overall darkness of tone, it’s necessary to apply many successive layers of wash until the desired density and darkness is achieved. In hames After Homer (opposite), the moonlight relecting across the water and the sparkling lights from within the Houses of Parliament are a base color of cadmium yellow that had been reserved from an initial wash across the whole sheet to create a warm glow. Reserving highlights is a key concept in watercolor since they’re achieved only by preserving areas of the white paper, allowing its luminosity to shine through the obscurity.

ALL ARTWORK IS BY STEPHEN HARBY UNLESS OTHERWISE NOTED. CARAVAGGIO: CHURCH OF SAN LUIGI DEI FRANCESI; ROME. WHISTLER: TATE, LONDON. HOMER: HIRSHHORN MUSEUM AND SCULPTURE GARDEN, WASHINGTON, D.C.

Pantheon Door (Rome) (graphite and watercolor on paper, 24x16)

Then There Was Dark The appeal of nocturnes is a fairly recent development for artists, who are so dependent on light. Caravaggio, Whistler and Homer helped to break through the resistance to painting the darker side of things.

Caravaggio, with his stark light-and-dark constrasts, as seen in The Calling of Saint Matthew (oil on canvas; 11x10½), opened the eyes of 17th-century artists to the appeal of dramatic darks.

James Abbott McNeill Whistler might be said to have “invented” the nocturne. Works such as Nocturne in Blue and Gold: Old Battersea Bridge (ca 1872–75; oil on canvas; 26¹⁄₅x19⁷⁄₁₀) met with some stiff opposition 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 watercolor is to apply resist—such as masking luid, tape or candle wax— prior to bringing in the dark tones. 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 considerable 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

Santa Barbara Mission (California) (graphite and watercolor on paper, 13½x10½)

$'9(57,6(0(17

Leading Acid Reflux Pill Becomes an AntiAging Phenomenon

Clinical studies show breakthrough acid reflux treatment also helps maintain vital health and helps protect users from the serious conditions that accompany aging such as fatigue and poor cardiovascular health E\ 'DYLG :D[PDQ GLVFRPIRUW DQG EHWWHU VOHHS 6RPH HYHQ UHSRUWHG KHDOWKLHU ORRNLQJ VNLQ KDLU DQG 6HDWWOH :DVKLQJWRQ $ FOLQLFDO VWXG\ RQ D OHDGLQJ DFLG UHÀX[ QDLOV $ KHDOWK\ JXW LV WKH NH\ WR D UHGXFLQJ SLOO VKRZV WKDW LWV NH\ LQJUHGLHQW UHOLHYHV GLJHVWLYH V\PSWRPV ZKLOH VXSSUHVVLQJ WKH VZHOOLQJ DQG LQÀDPPDWLRQ WKDW FDQ ZUHDN LQÀDPPDWLRQ WKDW FRQWULEXWHV WR SUHPDWXUH KDYRF RQ WKH KXPDQ ERG\ 'RFWRUV VD\ WKLV LV ZK\ $ORH&XUH ZRUNV RQ VR PDQ\ DVSHFWV DJLQJ LQ PHQ DQG ZRPHQ $QG LI FRQVXPHU VDOHV DUH DQ\ LQGLFD RI \RXU KHDOWK $ORH&XUH¶V DFWLYH LQJUHGLHQW LV PDGH WLRQ RI D SURGXFW¶V H൵HFWLYHQHVV WKLV µDFLG UHÀX[ SLOO WXUQHG DQWLDJLQJ SKHQRPHQRQ¶ IURP WKH KHDOLQJ FRPSRXQG IRXQG LQ $ORH YHUD ,W LV ERWK VDIH DQG KHDOWK\ 7KHUH DUH LV QRWKLQJ VKRUW RI D PLUDFOH 6ROG XQGHU WKH EUDQG QDPH $ORH&XUH LW DOVR QR NQRZQ VLGH H൵HFWV 6FLHQWLVWV EHOLHYH WKDW LW KHOSV LPSURYH ZDV DOUHDG\ EDFNHG E\ FOLQLFDO GDWD GRFX PHQWLQJ LWV DELOLW\ WR SURYLGH DOO GD\ DQG GLJHVWLYH DQG LPPXQH KHDOWK E\ DFWLQJ DV QLJKW UHOLHI IURP KHDUWEXUQ DFLG UHÀX[ D QDWXUDO DFLGEX൵HU WKDW LPSURYHV WKH S+ FRQVWLSDWLRQ LUULWDEOH ERZHO JDV EORDWLQJ EDODQFH RI \RXU VWRPDFK 5HVHDUFK KDV VKRZQ WKDW WKLV DFLG LPEDO DQG PRUH DQFH FRQWULEXWHV WR SDLQIXO LQÀDPPDWLRQ %XW VRRQ GRFWRUV VWDUWHG UHSRUWLQJ VRPH WKURXJKRXW \RXU HQWLUH ERG\ DQG LV ZK\ $O LQFUHGLEOH UHVXOWV« ³:LWK $ORH&XUH P\ SDWLHQWV VWDUWHG UH RH&XUH VHHPV WR EH VR H൵HFWLYH SRUWLQJ OHVV MRLQW SDLQ PRUH HQHUJ\ EHWWHU EXCITING RESULTS FROM VOHHS VWURQJHU LPPXQH V\VWHPV« HYHQ OHVV PATIENTS VWUHVV DQG EHWWHU VNLQ KDLU DQG QDLOV´ H[ SODLQV 'U /L]D /HDO D OHDGLQJ LQWHJUDWLYH 7R GDWH RYHU  PLOOLRQ ERWWOHV RI $ORH KHDOWK VSHFLDOLVW DQG FRPSDQ\ VSRNHVSHU &XUH KDYH EHHQ VROG DQG WKH FRPPXQLW\ VRQ VHHNLQJ QRQSKDUPD WKHUDS\ IRU WKHLU *, $ORH&XUH FRQWDLQV DQ DFWLYH LQJUHGLHQW KHDOWK FRQWLQXHV WR JURZ WKDW KHOSV LPSURYH GLJHVWLRQ E\ DFWLQJ DV $FFRUGLQJ WR 'U /HDO KHU SDWLHQWV DUH D QDWXUDO DFLGEX൵HU WKDW LPSURYHV WKH S+ DEVROXWHO\ WKULOOHG ZLWK WKHLU UHVXOWV DQG DUH EDODQFH RI \RXU VWRPDFK RIWHQ VKRFNHG E\ KRZ IDVW LW ZRUNV 6FLHQWLVWV QRZ EHOLHYH WKDW WKLV DFLG LP ³)RU WKH ¿UVW WLPH LQ \HDUV WKH\ DUH IUHH EDODQFH LV ZKDW FRQWULEXWHV WR SDLQIXO LQ IURP FRQFHUQV DERXW WKHLU GLJHVWLRQ DQG ÀDPPDWLRQ WKURXJKRXW WKH UHVW RI WKH ERG\ DOPRVW HYHU\ RWKHU DVSHFW RI WKHLU KHDOWK´ 7KH GDLO\ DOORZDQFH RI $ORH&XUH KDV VD\V 'U /HDO ³DQG , UHFRPPHQG LW WR HY VKRZQ WR FDOP WKLV LQÀDPPDWLRQ ZKLFK LV HU\RQH ZKR ZDQWV WR LPSURYH *, KHDOWK ZK\ $ORH&XUH LV VR H൵HFWLYH ZLWKRXW UHVRUWLQJ WR GUXJV VXUJHU\ RU 27& 5HOLHYLQJ RWKHU VWUHVVIXO V\PSWRPV UH PHGLFDWLRQV´ ODWHG WR *, KHDOWK OLNH SDLQ EORDWLQJ ID ³, ZDV DOZD\V LQ µLQGLJHVWLRQ KHOO¶ 'RF WLJXH FUDPSLQJ FRQVWLSDWLRQ GLDUUKHD WRUV SXW PH RQ DOO VRUWV RI DQWDFLG UHPHGLHV KHDUWEXUQ DQG QDXVHD 1RWKLQJ ZRUNHG 'U /HDO UHFRPPHQGHG , 1RZ EDFNHG ZLWK QHZ FOLQLFDO VWXGLHV WU\ $ORH&XUH $QG VRPHWKLQJ UHPDUNDEOH $ORH&XUH LV EHLQJ UHFRPPHQGHG E\ GRF KDSSHQHG« 1RW RQO\ ZHUH DOO WKH LVVXHV WRUV HYHU\ZKHUH WR KHOS LPSURYH GLJHVWLRQ , KDG ZLWK P\ VWRPDFK JRQH  FRPSOHWHO\ FDOP SDLQIXO LQÀDPPDWLRQ VRRWKH MRLQW JRQH ± EXW , IHOW OHVV MRLQW SDLQ DQG , ZDV SDLQ DQG HYHQ UHGXFH WKH DSSHDUDQFH RI DEOH WR DFWXDOO\ VOHHS WKURXJK WKH QLJKW´ :LWK VR PXFK SRVLWLYH IHHGEDFN LW¶V ZULQNOHV ± KHOSLQJ SDWLHQWV WR ORRN DQG IHHO HDV\ WR VHH ZK\ WKH FRPPXQLW\ RI EHOLHY GHFDGHV \RXQJHU HUV LV JURZLQJ DQG VDOHV IRU WKH QHZ SLOO DUH FIX YOUR GUT & FIGHT VRDULQJ INFLAMMATION 6LQFH KLWWLQJ WKH PDUNHW VDOHV IRU $ORH THE SCIENCE BEHIND ALOECURE &XUH KDYH WDNHQ R൵ DQG WKHUH DUH VRPH YHU\ $ORH&XUH LV D SLOO WKDW¶V WDNHQ MXVW RQFH JRRG UHDVRQV ZK\ GDLO\ 7KH SLOO LV VPDOO (DV\ WR VZDOORZ 7R VWDUW WKH FOLQLFDO VWXGLHV KDYH EHHQ 7KHUH DUH QR KDUPIXO VLGH H൵HFWV DQG LW LPSUHVVLYH 3DUWLFLSDQWV WDNLQJ WKH DFWLYH GRHV QRW UHTXLUH D SUHVFULSWLRQ LQJUHGLHQW LQ $ORH&XUH VDZ D VWXQQLQJ 7KH DFWLYH LQJUHGLHQW LV D UDUH $ORH 9HUD  LPSURYHPHQW LQ GLJHVWLYH V\PSWRPV FRPSRQHQW NQRZQ DV DFHPDQQDQ ZKLFK LQFOXGHV IDVW DQG ODVWLQJ UHOLHI IURP 0DGH IURP RI  RUJDQLF $ORH 9HUD UHÀX[ $ORH&XUH XVHV D SURSULHWDU\ SURFHVV WKDW UH 8VHUV DOVR H[SHULHQFHG KLJKHU HQHUJ\ VXOWV LQ WKH KLJKHVW TXDOLW\ PRVW ELRDYDLO OHYHOV DQG HQGXUDQFH UHOLHI IURP FKURQLF DEOH OHYHOV RI DFHPDQQDQ NQRZQ WR H[LVW

$FFRUGLQJ WR 'U /HDO DQG VHYHUDO RI KHU FROOHDJXHV LPSURYLQJ WKH S+ EDODQFH RI \RXU VWRPDFK DQG UHVWRULQJ JXW KHDOWK LV WKH NH\ WR UHYLWDOL]LQJ \RXU HQWLUH ERG\ :KHQ \RXU GLJHVWLYH V\VWHP LVQ¶W KHDOWK\ LW FDXVHV XQZDQWHG VWUHVV RQ \RXU LPPXQH V\VWHP ZKLFK UHVXOWV LQ LQÀDPPD WLRQ LQ WKH UHVW RI WKH ERG\ 7KH UHFRPPHQGHG GDLO\ DOORZDQFH RI DFHPDQQDQ LQ $ORH&XUH KDV EHHQ SURYHQ WR VXSSRUW GLJHVWLYH KHDOWK DQG FDOP SDLQIXO LQÀDPPDWLRQ ZLWKRXW VLGH H൵HFWV RU GUXJV 7KLV ZRXOG H[SODLQ ZK\ VR PDQ\ XV HUV DUH H[SHULHQFLQJ LPSUHVVLYH UHVXOWV VR TXLFNO\ REVITALIZE YOUR ENTIRE BODY :LWK GDLO\ XVH $ORH&XUH KHOSV XVHUV ORRN DQG IHHO GHFDGHV \RXQJHU DQG GHIHQG DJDLQVW VRPH RI WKH SDLQIXO LQÀDPPDWLRQ WKDW DFFRPSDQLHV DJLQJ DQG FDQ PDNH OLIH KDUG %\ EX൵HULQJ VWRPDFK DFLG DQG UHVWRULQJ JXW KHDOWK $ORH&XUH FDOPV SDLQIXO LQÀDP PDWLRQ DQG ZLOO KHOS LPSURYH GLJHVWLRQ« VRRWKH DFKLQJ MRLQWV« UHGXFH WKH DSSHDU DQFH RI ZULQNOHV DQG KHOS UHVWRUH KDLU DQG QDLOV « PDQDJH FKROHVWHURO DQG R[LGDWLYH VWUHVV« DQG LPSURYH VOHHS DQG EUDLQ IXQF WLRQ« ZLWKRXW VLGH H൵HFWV RU H[SHQVH 5HDGHUV FDQ QRZ UHFODLP WKHLU HQHUJ\ YLWDOLW\ DQG \RXWK UHJDUGOHVV RI DJH RU FXU UHQW OHYHO RI KHDOWK

2QH$ORH&XUH&DSVXOH'DLO\

‡+HOSV(QG'LJHVWLRQ1LJKWPDUHV ‡+HOSV&DOP3DLQIXO,QÀDPPDWLRQ ‡6RRWKHV6WL൵ $FKLQJ-RLQWV ‡5HGXFHVDSSHDUDQFHRI:ULQNOHV  ,QFUHDVHV(ODVWLFLW\ ‡0DQDJHV&KROHVWHURO 2[LGDWLYH6WUHVV ‡6XSSRUWV+HDOWK\,PPXQH6\VWHP

‡,PSURYHV6OHHS %UDLQ)XQFWLRQ

HOW TO GET ALOECURE 7KLV LV WKH R൶FLDO QDWLRQZLGH UHOHDVH RI WKH QHZ $ORH&XUH SLOO LQ WKH 8QLWHG 6WDWHV $QG VR WKH FRPSDQ\ LV R൵HULQJ RXU UHDGHUV XS WR  )5(( ERWWOHV ZLWK WKHLU RUGHU 7KLV VSHFLDO JLYHDZD\ LV DYDLODEOH IRU WKH QH[W KRXUV RQO\ $OO \RX KDYH WR GR LV FDOO 72//)5((  DQG SURYLGH WKH RSHUDWRU ZLWK WKH )UHH %RWWOH $SSURYDO &RGH $& 7KH FRPSDQ\ ZLOO GR WKH UHVW ,PSRUWDQW 'XH WR $ORH&XUH¶V UHFHQW PH GLD H[SRVXUH SKRQH OLQHV DUH RIWHQ EXV\ ,I \RX FDOO DQG GR QRW LPPHGLDWHO\ JHW WKURXJK SOHDVH EH SDWLHQW DQG FDOO EDFN 7KRVH ZKR PLVV WKH KRXU GHDGOLQH PD\ ORVH RXW RQ WKLV IUHH ERWWOH R൵HU

THESE STATEMENTS HAVE NOT BEEN EVALUATED BY THE FOOD AND DRUG ADMINISTRATION. THIS PRODUCT IS NOT INTENDED TO DIAGNOSE, TREAT, CURE, OR PREVENT ANY DISEASE. ALL DOCTORS MENTIONED ARE REMUNERATED FOR THEIR SERVICES. ALL CLINICAL STUDIES ON ALOECURE’S ACTIVE INGREDIENT WERE INDEPENDENTLY CONDUCTED AND WERE NOT SPONSORED BY THE AMERICAN GLOBAL HEALTH GROUP.

artist’s marketplace WATERCOLOR WORKSHOPS

MARJORIE GLICK Dallas TX, Feb 4-7 Cambria CA, March 4-7 New Bern NC, March 25-28

New Orleans LA, April 15-18 Branson MO, May 6-9 (ICKORY .# *UNE  

   
 

Learn at home Books and DVDs www.tonycouch.com (678) 513-6676 ■

watercolor workshops 2019 focusing on dynamic color and light

coastal maine, and tuscany, italy see website for info and dates:

www.marjorieglick.com

Jeanne Carbonetti

Weeklong classes in painting, drawing, mixed media and more. JOHN C. CAMPBELL FOLK SCHOOL folkschool.org

1-800-FOLK-SCH

BRASSTOWN

Expanded Website Featuring Sales Gallery for Watercolor Paintings Store for Books, DVDs & Prints www.crowhillgallery.com 802-875-3763

NORTH CAROLINA

Master Artist Workshops Huntsville, AL | 256.535.4350 | hsvmuseum.org

ADVERTISER’S INDEX Aloe Cure ................................................................. 81 Aquarelle Studios And Galleries .......................... 84 Art In The Mountains ..............................................85 Bismarck Art & Galleries Association ..................83 Blick Art Materials ................................................. BC

Call for Entries the Transparent Watercolor Society of America

43rd Annual EXHIBITION

Canson................................................................... IFC Colart America ..................................................... IBC Creative Art Workshops ........................................85 Crow Hill Gallery .....................................................82 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 www.CallForEntry.org or through TWSA at watercolors.org

MacPhersons ............................................................3 Marguerite Meyerson ........................................... 86 Marjorie Glick..........................................................82 Masla Fine Art .........................................................82 Pennsylvania Watercolor Society ........................83 Red River Watercolor Society ...............................83

Inspiring painting holidays in rural Tuscany

Robbie Laird Art Studio .........................................83

IUUQTwatermill.net

Robert Burridge Studio ......................................... 84 Safe Step Walk-In Tub Co. ...................................... 17 Savoir Faire..............................................................25

“Our best holiday ever!”

Serrago Inc ..............................................................82

We ofer stimulating, fun-illed courses with acclaimed tutors based in a beautiful setting in unspoilt Italy.

Society of Watercolor Artists ................................83 Texas Watercolor Society ......................................83

TONY My 2019

Email: [email protected] Call Bill or Lois: +39   

82 Watercolor artist

| FEBRUARY 2019

BOOKS AND DVD’S

VAN HASSELT

A W S

Watercolor Workshops Mar: Victorian Amelia Island, FL May: Discover Andalusian Spain Jul-Aug: Belfast & Bayside, ME Sept: My Boothbay Harbor, ME

vanhasseltworkshops.com

Tom Lynch ...............................................................85 Tony Couch .............................................................82 Tony van Hasselt.....................................................82 Transparent Watercolor Society ................... 82, 83 Watermill, The.........................................................82 Wiegardt Gallery ....................................................83

Jan Sitts Mixed Media Workshops

Texture, Color Feeling Book available [email protected]  www.jansitts.com

2019 Workshops with

Capturing Costa Rica in Color

the Transparent Watercolor Society of America

With Robbie Laird

43rd Annual EXHIBITION

March 24 – 30, 2019

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 Master Mentoring and Pouring for more info go to www.watercolors.org

Samovar with Magnolias by Laurin McCracken, TWSA MS

CALL FOR ENTRIES

Laundry Alley by Linda Baker, TWSA

WORKSHOPS

Franco Marini: [email protected] www.RobbieLaird.com

Tom Lynch

DEADLINE: JANUARY 22, 2019

ALABAMA

11/13-11/16/19, San Diego. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Louisiana Watercolor Society 49th International Exhibit, New Orleans. May 4-24, 2019. Michael Holter, juror. 1st Place: $2,500. Prospectus: www.LouisianaWatercolorSociety.org

Huntsville Museum of Art

Eric Wiegardt, AWS-DF, NWS

4/5-4/6/19, Huntsville. Lynnette Hesser & Steve Loucks, Ceramics: Serve with Finesse. 5/16-5/19/19, Huntsville. Robert K. Carsten, PSA-MP, IAPS-MC, CPS, Power of the Pastel Landscape. 9/23-9/27/19, Huntsville. Brian Bomeisler, Drawing on the Right Side of the Brain. 9/28-9/30/19, Huntsville. Brian Bomeisler, Intensive Painting/ Color based on the publication by Dr. Betty Edward, Color: A course in mastering the art of mixing colors. Contact: Laura E. Smith, Director of Education/Museum Academy, 256/535-4350 ext. 222 [email protected] or hsvmuseum.org

3/26-3/29/19, Palm Desert. Wiegardt’s Painterly Watercolors. Contact: CREATE Center for the Arts, Savannah Carlin, 760/834-8318, [email protected] or www.CREATEcenterforthearts.org

DEADLINE: MARCH 7, 2019 Red River Watercolor Society’s 26th Annual National Juried Watermedia Exhibition, June 17 through August 3, 2019, Fargo, ND. Juror - Iain Stewart AWS, NWS. Awards $5,000 cash +. Prospectus at www.redriverws.org or at www.OnlineJuriedShows.com

DEADLINE: MARCH 10, 2019 Society of Watercolor Artists International Watermedia Juried Exhibit. Awards-$5,000. Juror & workshop-Iain Stewart. Exhibit at Atrium Gallery FWCL in Fort Worth, Texas, April 14 May 19, 2019. For more entry info: swawatercolor.com or email exhibit chair: [email protected]

DEADLINE: APRIL 26, 2019 Texas Watercolor Society, 70th Annual National Exhibit, May 29 - August 15, 2019. $7,000 Total Cash Awards, $1,500 Best of Show. Juror & Workshop instructor Carol Carter (see workshop). Prospectus: TexasWatercolorSociety.org

DEADLINE: MAY 15, 2019 Pennsylvania Watercolor Society’s 40th International Juried Exhibition, August 31 - October 26, 2019 at the Lancaster Museum of Art, Lancaster, PA. Fees for 1 or 2 paintings – Members $25, Non-members $40. Easy online entry and payment or use a mail in form. Juror of Selection – John Salminen, Juror of Awards – Matthew Bird. Anticipate over $14,000 in Awards. Entries accepted beginning March 1, 2019. For a prospectus, visit www.pawcs.com or email [email protected]

DEADLINE: JUNE 28, 2019 8th Annual Square Foot Exhibit, August 6-30, 2019. Oil, watercolor, acrylic, or mixed media. Canvases supplied with Entry Fee: $25 for 1, $30 for 2 entries. Prospectus online at www.bismarck-art.org or contact BAGA at 701/223-5986.

ARIZONA Jan Sitts AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL POST PROPOSED DATES FOR UPCOMING CLASSES. 5/6-5/8/19 and 11/4-11/6/19, Sedona. Sedona Arts Center. Contact: Jennifer, 928/282-3809

Eric Wiegardt, AWS-DF, NWS 3/4-3/8/19, Scottsdale. Wiegardt’s Painterly Watercolors. Contact: Scottsdale Artists’ School, Trudy Hays, 480/990-1422 [email protected]

CALIFORNIA Art In The Mountains 3/18-3/20/19, Laguna Beach. Mary Whyte, Painting the Portrait and the Figure. Watercolor - studio. All levels welcome. Live Models - fee included. 4/24-4/26/19 and 4/28-4/30/19, Santa Barbara (moved from San Antonio). Alvaro Castagnet, The Pillars of Watercolor. Watercolor - plein air - intermediate to advanced outdoor painters. 9/9-9/13/19, Santa Barbara. David Taylor, Moving Forward and Capturing the Moment. Watercolor - plein air, intermediate to advanced. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

COLORADO Jan Sitts June or July 2019, Gunnison Art Center. Dates TBA.

FLORIDA Robert Burridge 1/7-1/11/19, Pensacola. Loosen Up with Aquamedia Painting. Contact: Quayside Gallery, 850/438-2363 Diane Goeller, 850/348-3652, [email protected] Pat Page, 850/293-5414, [email protected] or www.quaysidegallery.com 2/4-2/8/19, Sarasota. Abstract Acrylic Painting & Collage. 5-day Painting Workshop (Monday-Friday). Art Center Sarasota, 707 N. Tamiami Trail, Sarasota, FL 34236. Demo: Sunday, February 12, 1-3 pm. Contact: Elizabeth Goodwill, Education Director 941/365-2032, [email protected] or www.artsarasota.org 2/9-2/10/19, Sarasota. Abstract Acrylic Painting & Collage. 2-day Painting Workshop (Saturday-Sunday). Art Center Sarasota, 707 N. Tamiami Trail, Sarasota, FL 34236. Contact: Elizabeth Goodwill, Education Director 941/365-2032, [email protected] or www.artsarasota.org

Jaimie Cordero 2/8-2/9/19, Pinecrest. “Light & Shadow for Sun Lovers”. 2-Day Workshop with Photography tips, Composition strengthening, Plein air sketching, and Color Layering in Watercolor. 9/9-9/10/19, Pinecrest. “Tropical Florals in Light & Shadow”. 2-Day Workshop featuring dazzling tropical plants in Watercolor. Contact: Jaimie, 786/303-5293, [email protected]

Tony Couch, AWS

Tony Couch, AWS

3/4-3/7/19, Cambria. Contact: 678/513-6676, [email protected]

2/25-2/28/19, Punta Gorda. Contact: 678/513-6676, [email protected]

ArtistsNetwork.com 83

artist’s marketplace Tom Lynch

MAINE

Chris Unwin

1/7-1/10/19, Boynton Beach. 1/25-1/27/19, Indian Rocks Beach. 2/25-3/1/19, Pensacola. 3/5-3/8/19, Punta Gorda. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Marjorie Glick

Watercolor Workshop Weekly on Wednesdays. West Bloomfield, MI 48322 Contact: Chris Unwin, 248/624-4902 [email protected] or www.ChrisUnwin.net

Jan Sitts 2/18-2/21/19, Punta Gorda. Visual Arts Center. Contact: Kimberly, 941/639-8810

Tony van Hasselt, A.W.S. 3/18-3/22/19, Victorian Fernandina. Painting fun on sunny Amelia Island. Stately homes with moss-draped oaks plus a harbor, boats and rickety docks. Demonstrations, lots of individual painting time and assistance. Work in watercolor or acrylics. Contact: www.vanhasseltworkshops.com

GEORGIA Jaimie Cordero 9/5-9/7/19, St. Marys. “Celebrating the Light & Shadow of St. Marys”. 3-Day Workshop with Photography tips, Composition strengthening, Plein air sketching, and Color Layering in Watercolor. Contact: Jaimie, 786/303-5293, [email protected]

HAWAII Eric Wiegardt, AWS-DF, NWS 1/20-1/27/19, Lahaina, Maui. Maui Watercolor Plein Air Workshop. Contact: Wiegardt Studio Gallery, 360/665-5976 [email protected]

ILLINOIS Transparent Watercolor Society of America 6/3-6/7/19, Kenosha. Laurin McCrackin, TWSA MS, AWS, NWS, Painting Realism in Watercolor. 6/3-6/7/19 and 6/10-6/14/19, Kenosha. Linda Baker, TWSA, AWS-DF, NWS, Master Mentoring and Pouring. Contact: www.watercolors.org

LOUISIANA

6/16-6/21/19, Stonington. Watercolor Plein Air: Color and Light. This magical coastal landscape is an artists’ paradise! Stretch your perception of how you see, think about, and paint the landscape by learning new ways of interpreting it with color and composition. Express your ideas using watercolor’s elusive qualities of spontaneity and transparency. Expand what you know through individual mentoring. Daily demonstrations, ample time for painting, individual guidance and critiques are included. Stonington, Maine is 90 minutes by car from Bangor, Maine airport. Contact: www.marjorieglick.com

Tony van Hasselt, A.W.S. 7/29-8/2/19, Belfast. Five days of plein air fun, exploring this teaming coastal harbor and enjoying the charm of Victorian Bayside. Subjects galore. Demonstrations, lots of individual painting time and assistance. Work in watercolor or acrylics. Contact: www.vanhasseltworkshops.com 9/16-9/20/19, Boothbay Harbor. Let Tony show you favorite spots in his own “backyard”. Coastal scenes, rickety docks, a farmers market, lighthouse and more. Demonstrations, lots of individual painting time and assistance. Work in watercolor or acrylics. Contact: www.vanhasseltworkshops.com

MASSACHUSETTS Casa de los Artistas, Inc. – Masla Fine Art – ArtWorkshopVacations.com Robert Masla Studios North Contact: 413/625-8382, www.MaslaFineArt.com or www.ArtWorkshopVacations.com Join Masla this spring, summer and fall for drawing and plein air painting weekend mentoring workshops at the edge of the Berkshire Mountains, at Masla Studios North, in picturesque rural Ashfield, MA. Weekend includes fabulous picnic lunch and some materials. Workshops are for beginners to advanced painters. Experience Maslas’ award winning teaching style while you enjoy a beautiful relaxing weekend in the country. Small groups with lots of individual attention. Please check our website for schedule.

MICHIGAN Tom Lynch

Tony Couch, AWS 4/15-4/18/19, New Orleans. Contact: 678/513-6676, [email protected]

7/17-7/20/19, Lowell. Contact: 630/851-2652 [email protected] or www.TomLynch.com

MISSOURI Tony Couch, AWS 5/6-5/9/19, Branson. Contact: 678/513-6676, [email protected]

NEVADA Tom Lynch 8/13-8/19/19, Reno. Contact: 630/851-2652 [email protected] or www.TomLynch.com

NEW YORK Robert Burridge 5/20-5/24/19, Greenville. Contemporary Abstract Figure Painting & Collage. 5-day Painting Workshop (MondayFriday). Hudson River Valley Art Workshop. Contact: Kim LaPolla, 518/966-5219 or 888/665-0044, PO Box 659, Greenville, NY 12083 www.artworkshops.com

Tony Couch, AWS 7/15-7/17/19, Corning. Contact: 678/513-6676, [email protected]

Hudson River Valley Art Workshops 3/17-3/23/19, Kellee Wynne Conrad. 3/27-3/31/19, Patti Mollica. 3/31-4/6/19, Alain Picard. 4/10-4/14/19, Alvaro Castagnet. 4/14-4/18/19, Howard Rose. 5/5-5/11/19, Koo Schadler. 5/15-5/19/19, Barbara Nechis. 5/19-5/25/19, Robert Burridge. 5/29-6/2/19, Emilie Lee. 6/2-6/8/19, Jane Davies. 6/9-6/15/19, Leah Lopez. 6/23-6/29/19, Paul Leveille. 6/30-7/6/19, Michael Solovyev. 7/7-7/13/19, Debora Stewart. 7/14-7/20/19, Kim English. 7/21-7/27/19, Sally Strand. 7/28-8/3/19, Michael Story. 8/4-8/10/19, David Daniels. 9/1-9/7/19, Retreat Week. 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

ROBERT BURRIDGE

• Burridge Studio App • Free Online Newsletter • Free Weekly BobBlast • Current Workshop Schedule • Workshops in Bob's Studio

RobertBurridge.com

84 Watercolor artist

| FEBRUARY 2019

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 Barbara Nechis May 15-19, 2019 Robert Burridge May 19-25, 2019 Emilie Lee May 29-Jun 2, 2019 Jane Davies Jun 2-8, 2019 Leah Lopez Jun 9-15, 2019 Paul Leveille Jun 23-29, 2019 Michael Solovyev Jun 30-Jul 6, 2019 Debora Stewart Jul 7-13, 2019 Kim English Jul 14-20, 2019 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

artworkshops.com

artist’s marketplace 9/15-9/21/19, David Taylor. Contact: 888/665-0044 [email protected] or www.artworkshops.com

Riverside Art Workshops Breathtaking Views of The Hudson River. 5/7-5/9/19, Newburgh. Kathie George. 5/14-5/17/19, Newburgh. Nicki Heenan. 6/4-6/7/19, Newburgh. Peggi Habets. 6/10-6/13/19, Newburgh. Peggi Habets. 6/18-6/21/19, Newburgh. Jean Pederson. 6/26-6/28/19, Newburgh. Janet Rogers. 7/9-7/12/19, Newburgh. Fabio Cembranelli. 7/23-7/26/19, Newburgh. Giuliano Boscaini. 8/3-8/4/19, Newburgh. Ritvik Sharma. 8/12-8/15/19, Newburgh. Herman Pekel. 9/10-9/12/19, Newburgh. Rick Surowicz. 9/25-9/27/19, Newburgh. Michael Reardon. 10/22-10/25/19, Newburgh. Andy Evansen. Average class size 8-12 students. Contact: 845/787-4167, [email protected]

NORTH CAROLINA Robert Burridge 8/5-8/9/19, Boone. Abstract Acrylic Painting & Collage. 5-day Workshop (Monday-Friday). Cheap Joe’s Art Stuff. Contact: Edwina May, Workshop Coordinator 800/227-2788 or www.cheapjoes.com

John C. Campbell Folk School 1/6-1/12/19, Suzanne DesLauriers, Mountain Landscapes in Watercolor. $630. 1/13-1/19/19, Jack Cassady, Cartooning for Beginners. $630. 1/13-1/19/19, Michael Hughey, Cursive Italic Handwriting for Everyday Use & Simple Bookmaking. $630. 1/20-1/25/19, Billie Shelburn, Adventures in Collage. $564. 1/20-1/25/19, Eric Scott, Beyond Blank Pages. $564. 1/25-1/27/19, June Rollins, Come Test the Waters. $354. 2/3-2/9/19, Bradley Wilson, Bold & Loose – Painting & Drawing with Purpose. $630. 2/10-2/15/19, Margaret Scanlan, Learning to Draw. $564. 2/15-2/17/19, Virginia Urani, Get Your Feet Wet with Watercolor. $354. 2/24-3/2/19, Pebbie Mott, Painting in Acrylics. $630. Contact: John C. Campbell Folk School Brasstown, NC 800-FOLK-SCH or www.folkschool.org

Kanuga Watermedia Workshops

Sharon Serrago

3/30-4/5/19, Hendersonville. Held at the Kanuga Conference Center in the Blue Ridge Mountains of North Carolina, we offer 5 full days of instruction featuring 12 award-winning instructors. Painting is always a learning experience. Our goal is to help painters sharpen their critical awareness and discover painting gratification. Class sizes range from 12 to a maximum of 24 students, and each student selects one instructor for the entire week. We also have Independent Studios for those who wish to paint on their own. Meals and lodging are included. (Commuter option available.) Contact: 615/202-0281, [email protected] or www.kanugawatermediaworkshops.com

Sharon is a local area artist, teaching weekly watercolor and acrylic classes at her studio in Richardson, TX. As her teaching strength lies in color theory and design, her classes always focus on strong fundamentals - even in abstract! Contact: 214/636-4271, [email protected] or www.serragoartgallery.com

Jan Sitts 2019, Flower Mound. Dates TBA. Contact: [email protected]

Texas Watercolor Society

11/11-11/14/20, Matthew. Award Winning Artist Workshop. Contact: 704/607-6046, [email protected]

5/29-5/31/19, San Antonio. Carol Carter, Watercolor From The Heart. Come and learn new and exciting ways to express yourself through watercolor. Contact: [email protected]

OREGON

WASHINGTON

Art In The Mountains

Tom Lynch

Jan Sitts

7/29-8/2/19 and 8/5-8/9/19, Bend. Herman Pekel, Be Brave and Have Fun. Studio and plein air- watercolor. All levels welcome. 8/12-8/16/19, Bend. Iain Stewart, Sketchbook to Studio. Watercolor - studio. All levels welcome. 8/19-8/23/19, Bend. Chinmaya Panda, Portrait and Figure in Watercolor. Watercolor - studio. All levels welcome. 8/26-8/30/19, Bend. Michael Reardon, Watercolor Techniques. Watercolor - studio. All levels welcome - some experience helpful. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

SOUTH CAROLINA Art In The Mountains 7/9-7/11/19, Greenville. Mary Whyte, Painting the Portrait and the Figure. Watercolor - studio. All levels welcome. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

TEXAS Tony Couch, AWS 2/4-2/7/19, Dallas. Contact: 678/513-6676, [email protected]

9/27-9/29/19, Spokane. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Jan Sitts 9/5-9/8/19, Coupeville. Pacific Northwest Art School. Contact: Lisa Bernhardt, 360/678-3396 9/13-9/15/19, Vancouver. Treesong Nature Awareness and Retreat Center. Contact: Linda Lee, 978/618-3990

Eric Wiegardt, AWS-DF, NWS 2/19-2/22/19, Kent. Wiegardt’s Painterly Watercolors. Contact: JoAnne Iwasaki, 253/569-6006 [email protected] 4/9-4/12/19, Spokane. Wiegardt’s Painterly Watercolors. Contact: Spokane Art Supply, Victor Davis, 509/327-6628 [email protected]

WEST VIRGINIA Jaimie Cordero 5/2-5/4/19, Hedgesville. “Celebrate Spring in Watercolor”. 3-Day Workshop celebrating the colors of Spring, includes photo tips, Color Layering, Plein Air Sketching. Contact: Jaimie, 786/303-5293, [email protected]

Tony Couch, AWS

Tom Lynch

WISCONSIN

3/25-3/28/19, New Bern. 6/25-6/27/19, Hickory. Contact: 678/513-6676, [email protected]

9/9-9/13/19, Stephenville. Contact: 630/851-2652 [email protected] or www.TomLynch.com

6/9-6/12/19, Lac du Flambeau. Dillmans Creative Art Retreat. Contact: Sue

Jan Sitts

Workshop DVDs 6LQFH 

³3UHPLHU 'HVWLQDWLRQ :RUNVKRSV´  :RUNVKRSV .DUO\Q +ROPDQ &UXLVH:RUNVKRS -DQXDU\    *ROG &RDVW $XVWUDOLD 1HZ &DOHGRQLD

0DU\:K\WH

0DUFK /DJXQD%HDFK&$

$OYDUR &DVWDJQHW

$SULO    $SULO    6DQWD %DUEDUD &$

+HUPDQ 3HNHO

-XQH    3DULV9HUVDLOOHV )UDQFH BBBBBBBBBBBBB -XO\   $XJXVW  $XJXVW    %HQG 25

0DU\ :K\WH -XO\    *UHHQYLOOH 6&

&KLQPD\D 3DQGD $XJXVW    %HQG 25

,DLQ 6WHZDUW $XJXVW    %HQG 25

'DYLG 7D\ORU

6HSWHPEHU    6DQWD %DUEDUD &$

[email protected] 630-851-2652 www.tomlynch.com 2019 WORKSHOPS January 7 – 10

Boynton Beach, FL

January 25 – 27

Indian Rocks Beach, FL

February 9 – 16

Puerto Vallarta, Mexico

Feb 25 – March 1

Pensacola, FL

March 5 – 8

Punta Gorda, FL

July 17 – 20

Lowell, MI

August 13 – 19

Reno, NV

September 9 – 13

Stephenville, TX

September 27 – 29

Spokane, WA

November 13 – 16

San Diego, CA

Pine River, Nita Engle,AWS

Available For Workshops In Your Area

0LFKDHO 5HDUGRQ

$XJXVW    GD\ ZRUNVKRS %HQG 25

.DUO\Q+ROPDQ&UXLVH:RUNVKRS 2FWREHU1RYHPEHU 7UDQV$WODQWLFZLWK&RXQWULHV



LQIR#DUWLQWKHPRXQWDLQVFRP ZZZDUWLQWKHPRXQWDLQVFRP

The Girls by Alexis Lavine, NWS Visit www.ArtAcademyLive.com Your Online Source For Art Instruction 24/7

See Video Clips at ChrisUnwin.NET

WWW.

ArtistsNetwork.com 85

artist’s marketplace Transparent Watercolor Society of America 6/3-6/7/19, Kenosha. Laurin McCrackin, TWSA MS, AWS, NWS, Painting Realism in Watercolor. 6/3-6/7/19 and 6/10-6/14/19, Kenosha. Linda Baker, TWSA, AWS-DF, NWS, Master Mentoring and Pouring. Contact: www.watercolors.org

INTERNATIONAL AUSTRALIA Art In The Mountains 1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New Caledonia and Gold Coast Australia Cruise/workshop. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

COSTA RICA Robbie Laird 3/24-3/30/19, Capturing Costa Rica In Color. Contact: Franco Marini, [email protected]

EUROPE Art In The Mountains 10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to New Orleans. Painting days are ‘at sea’ days only. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

FRANCE Art In The Mountains 6/10-6/14/19, Paris. Herman Pekel, watercolor- plein air intermediate to advanced. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

is offered through Il Chiostro. Artists of all levels and mediums are welcome and will leave enriched by this experience. Contact: [email protected] or [email protected]

The Watermill at Posara, Lunigiana, Tuscany The 2019 painting tutors at the Watermill are: 4/27-5/4/19, Watercolours with Paul Talbot-Greaves (from UK). 5/18-5/25/19, Watercolours with Keiko Tanabe (from Japan). 6/1-6/8/19, Watercolours with Sandra Strohschein 1 (from USA). 6/8-6/15/19, Watercolours with Sandra Strohschein 2 (from USA). 6/22-6/29/19, Oils and watercolours with Vicki Norman (from UK). 6/29-7/6/19, Watercolours and drawing (also gouache and acrylics) with Mike Willdridge (from UK). 7/13-7/20/19, Watercolours, pastels, collage and mixed media plus acrylics with Sue Ford (from UK). 8/17-8/24/19, Watercolours, acrylics and oils with Jude Scott 1 (from Australia). 8/24-8/31/19, Watercolours, acrylics and oils with Jude Scott 2 (from Australia). 8/31-9/7/19, Water-based oils, acrylics and watercolours with Varvara Neiman (from UK). 9/14-9/21/19, Watercolours (and oils and acrylics) with Claire Warner (from UK). 9/21-9/28/19, Oils, acrylics, pastels and drawing mediums with Maggie Renner Hellmann (from USA). 9/28-10/5/19, Watercolours, acrylics and oils with Charles Sluga (from Australia). 10/5-10/12/19, Watercolours with Tim Wilmot (from the UK). 10/12-10/19/19, Watercolours with David Taylor (from Australia). Contact: Bill or Lois on [email protected] or phone +39 327 379 9178. More details at https://watermill.net

MEXICO

ITALY

Robert Burridge

Marjorie Glick/Il Chiostro

1/19-1/26/19, Abstract Acrylic Painting & Collage in Mexico. Casa de Los Artistas. Boca de Tomatlan, 10 miles South of Puerto Vallarta. Contact: Robert Masla, 413/625-8383 www.ArtWorkshopVacations.com 3/10-3/16/19, San Miguel De Allende. Abstract Acrylic Painting & Collage Workshop in Mexico. Contact: Flying Colors, 858/518-0949 [email protected] or www.FlyingColorsArt.com

TBD Tuscany. This will be a relaxing and inspiring painting workshop and artists’ re-treat in the Chianti Region of Tuscany, Italy. We will stay in an authentic 12th century monastery, San Fedele, which has been recently restored to modern first class lodging accommodations while retaining an old-world authenticity. We will paint daily, either on site or on short field trips to view charming villages, olive groves and the beautiful, romantic Tuscan country- side. The workshop

RIVERSIDE ART WORKSHOPS 2019

Casa de los Artistas, Inc. – Masla Fine Art – ArtWorkshopVacations.com Robert Masla Studios South Contact: 413/625-8382, www.MaslaFineArt.com or www.ArtWorkshopVacations.com A Unique Tropical Paintcation with the Best Instruction in the Best Location. All inclusive artists retreats - tropical oceanside paradise: Robert Burridge, Andy Evansen, Shelby Keefe, Tom Lynch, John MacDonald, Robert Masla, Jim McVicker, Mario Andres Robinson, Dave Santillanes, Randall Sexton. Serene fishing village 10 miles south of Puerto Vallarta. Call for early registration discounts. Visit our website for more details, schedule, slide show, free instructional videos and… 1/5-1/12/19 & 1/26-2/2/19, Robert Masla, Paint in paradise with Casa Director/Co-founder, Aqua media, Art & Yoga, Draw Like Crazy, Paint Like Crazy – Draw Like a Painter! Painting in Plein Air and the Studio. 1/12-1/19/19, Shelby Keefe, Bold Brush Painting – Plein Air and Studio. 1/19-1/26/19, Robert Burridge, Abstract Acrylic and Collage Workshop. 2/2-2/9/19, Andy Evansen, Loosening Up Your Watercolor Painting, Plein Air and Studio. 2/9-2/16/19, Tom Lynch, Watercolor Secrets Revealed, Plein Air and Studio. 2/16-2/23/19, John MacDonald, Drawing and Painting in Plein Air and the Studio. 2/23-3/2/19, Rescheduled - Please check our website for listing. 3/2-3/9/19, Randal Sexton, Expressive Brushwork En Plein Air, Plein Air and the Studio. 3/9-3/16/19, Jim McVicker, Painting in Plein Air and the Studio. 3/16-3/23/19, Dave Santillanes, Capturing the Atmosphere - Painting in Plein Air and the Studio. 3/30-4/6/19, Mario Andres Robinson, Painting in Paradise – the Portrait and Figure in Watercolor.

Tom Lynch 2/9-2/16/19, Puerto Vallarta. Contact: 630/851-2652 [email protected] or www.TomLynch.com

SPAIN Tony van Hasselt, A.W.S. 4/30-5/10/19, Seville and Andalusia. Come sketch or paint in a place that takes your breath away. Zahara de la Sierra is one of the most picturesque white pueblos in the area. Start a sketchbook journal and work based on the drawings or paint right on location. Demonstrations, lots of painting time and assistance. Contact: www.vanhasseltworkshops.com

Art sts

network Breathtaking Views of The Hudson River

Small & Friendly Classes Kathie George ..................... 5/7-5/9 Nicki Heenan ................... 5/14-5/17 Peggi Habets ... 6/4-6/7 & 6/10-6/13 Jean Pederson ................ 6/18-6/21 Janet Rogers ................... 6/26-6/28 Fabio Cembranelli ............. 7/9-7/12 Giuliano Boscaini ............ 7/23-7/26 Ritvik Sharma ..................... 8/3-8/4 Herman Pekel .................. 8/12-8/15 Rick Surowicz ................. 9/10-9/12 Michael Reardon ............. 9/25-9/27 Andy Evansen ............. 10/22-10/25 Average class size 8-12 students. Newburgh, NY 845-787-4167 [email protected]

86 Watercolor artist

| FEBRUARY 2019

For the Artist, Maker & (Forever) Inspired Artists Network is with you every step of your art journey. Come have fun with us! Come make art with us! www.artistsnetwork.com

YOUR MASTERPIECE DESERVES $2,500 and a FEATURE in ARTISTS MAGAZINE.

$24,000 IN CASH & PRIZES! Compete and Win in 5 Categories

EARLY-BIRD DEADLINE: APRIL 2, 2019 To Enter visit artistsnetwork.com/art-competitions/artists-magazine-annual

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

The Perfect Combination.

Founded in 1832, innovation has always been at the heart of Winsor & Newton. First to develop glycerin based water colours, collapsible tin tubes, and a durable opaque white water colour, Chinese White, Winsor & Newton once again made history in 1866 when Her Majesty Queen Victoria gave orders that Winsor & Newton, holders of the Royal Warrant, be commanded to produce the very finest water colour brushes in her favourite size: the No. 7. Now, more than 150 years later Winsor & Newton introduces some of the finest water colour papers offered to artists today. All papers are made on a traditional cylinder mould at the paper mill, following a practice that dates back to the 19th century. The papers are internally and externally sized so colours remain brilliant and intense even when dry.

www.winsornewton.com