You Have The Vision: Blick Has The Supplies

YOU HAVE THE VISION
Kathy Hiner, kathyhinerart.com
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CHARLES REID’S 5 DESIGN ESSENTIALS
ARTISTSNETWORK.COM
Find the
Story
in the
Scene
A Tested Approach
for Creating
More Compelling
10
WAYS TO
PERK UP YOUR
Compositions PAINTINGS
W TH PEOPLE!
WITH
p. 64
THE WEATHER REPORT

Top Artists OCTOBER 2019
on the Best
Conditions
for Painting
Contents OCTOBER 2019
Features
20
20
RESTRAINT &
SIMPLICITY
Joel Popadics’ misty
atmospheric landscapes
offer an alluring interplay
of shapes and perspective.
BY JOHN A. PARKS
28
ON-SITE TO BEHOLD
A plein air painter places
more value on depicting
a moment in time than on
capturing accurate detail.
BY DAVID HOWELL 50
36
5 WAYS TO STRENGTHEN
42
PAINTING THE POETRY
50
NATURAL WONDERS
A COMPOSITION OF NATURE Sharon Pitts relishes the
Follow Charles Reid’s practical North Asian artists Hsin-I Kuo unpredictability of watercolor
and sublime advice on how and JinSong Zhang share their in her richly colored views of
to leverage composition to unique takes on inspiration, Earth’s bounty.
build a successful painting. expression, style and more. BY AMY LEIBROCK
BY ISABELLE V. LIM
ArtistsNetwork.com 1
OCTOBER 2019
Columns
4 EDITOR’S NOTE
What do you and Albert
Einstein have in common?
6 HAPPENINGS
An artist explores the
supernatural. PLUS:
Alice Schille gets her due.
BY MCKENZIE GRAHAM
12 ANATOMY OF
A PAINTING
Amelia Long honors a
cherished Paris landmark.
BY JERRY N. WEISS
14 CREATIVITY
WORKSHOP
Two artists capture their
decades-long friendship
through watercolor.
BY LAURIE GOLDSTEIN-
WARREN AND DORI BETH
JOSIMOVICH
58 BURNING QUESTION
What weather conditions
most inspire you to paint?
COMPILED BY ANNE HEVENER
60 WATERCOLOR
ESSENTIALS
Approach your next 14
painting through the
eyes of a stage designer.
60
BY STEVE GRIGGS
WITH SUE MARTIN GRIGGS
64 BRIGHT IDEAS ON THE COVER

Let figures help to narrate
the story of a landscape. Charles Reid’s 5 Design
Essentials 36
BY SAGNIK BISWAS
Find the Story in the Scene 60
72 OPEN BOOK
Use your sketchbook to The Weather Report 58
test-drive color options. 10 Ways to Perk Up Your
BY JEAN MACKAY Paintings With People 64
Evening Shadows of Prague
Get Social (detail; watercolor on paper, 21x14)

by Ron Stocke
@ARTISTSNETWORK
Watercolor Artist (ISSN 1941-5451) is published six times a year in February, April, June, August, October and December by F+W Media, Inc., 10151 Carver Road, Suite 300, Blue Ash OH 45242; tel: 513/531-2222.
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2 Watercolor artist | OCTOBER 2019

THE FOUR ELEMENTS OF WATERCOLOR
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Editor’s Note Watercolor
ARTISTSNETWORK.COM
A ny mention of Albert Einstein,

and the image that comes to
my mind has him standing at
a chalkboard or perhaps sitting in his
study amidst piles of books and
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of him, outside, enjoying a walk,
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a strong connection to nature, finding in its “magnificent
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in a painting, Einstein sought to express it in the art of a
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Foreign subscribers (386) 346-0105
Popadics (page 20), the effects of light and atmosphere are https://wcm.pcdfusion.com/pcd/CustomerSupport/App/10032
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Copyright © 2019 by F+W Media, Inc. All Rights Reserved.
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In Memoriam: We were saddened to learn of the passing of Charles Reid,
a master of watercolor, on June 1. In addition to Reid’s numerous
achievements as an artist, he also devoted much of his life to teaching.
He offered workshops around the globe, and also wrote 11 books and
many articles to share his painting passion and expertise with others.
We’re happy to share an excerpt from one such book on page 36.

)RHPIĄ-RWTMVEXMô
%GGIĄMFPIER][LIVIER]XMQI
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Happenings
CLOCKWISE
FROM LEFT
Hills Become the
Sun (watercolor
and graphite on
paper, 6½x4)
COLLECTION OF
THE ARTIST
Ægishjálmur (9)
(watercolor and
graphite on
paper, 7½x5½)
PRIVATE COLLECTION
To Hide
Something
(watercolor and
graphite on
paper, 6½x4)
COLLECTION OF
THE ARTIST
Stave for the

Unspoken
Charm (18)
(watercolor and
graphite on
paper, 7½x5½)
COLLECTION OF
ZAHAR VAKS
/ MAKING A SPLASH /
Jesse Bransford
Entranced by the history of folk magic tive paintings into a book, and that’s
traditions, artist Jesse Bransford how The Book of Staves was created.
(jessebransford.com) visited a friend in Bransford used the Hávamál as the
Iceland, excited to explore the region’s “organizing principle,” since the poem
well-known culture of the supernatu- narrates a series of spells. The artist
ral. The two went to the Museum of illustrated them in the tradition of
Icelandic Witchcraft and Sorcery, where the historical manuscripts he’d been
the artist found inspiration for years of studying. “Symmetry and geometry
research. “We took a big risk given the are at the heart of all visual art,” he
weather and went to the Strandir says. “Many cultures eschew the pic-
Coast,” he says. “It was early spring, torial in favor of pure geometry.”
and the entire region was empty. You Bransford’s choice of watercolor was
could feel the spirit of the natural order strategic. “Watercolor has a relation-
there. The work that emerged came out ship to paper that’s akin to the spells
of that folk magic and is very much and manuscripts I was looking at,” he
indebted to those traditions.” says. “The small scale really allows the
Soon, publisher Fulgur approached subtle color shifts that watercolor can
Bransford about making his interpre- create to come to the fore.”

New + Notable
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This scarf prominently displays a
reproduction of Adolf Dehn’s 1941
watercolor Spring in Central Park,
featuring a view of New York City that
includes the distinctive architecture of
the Hampshire House and the Essex
House. store.metmuseum.org
Albrecht Durer Watercolour Markers [$30-180]

These markers, made in Germany, come in
packs of five, 10, 20 or 30. The odorless markers
include two nibs—a flexible brush and a stable
fiber-tip nib with a 1-2 mm line width. They’re
lightfast and won’t bleed through your paper.
faber-castell.com
/ ON THE SHELVES /
Whistler in Paint Yourself Positive
Watercolor [$45] [$25]
The result of Watercolorist Jean
collaboration Haines has sold more
between Lee than 94,000 books to
Glazer, Emily date, and it’s easy to
Jacobson, Blythe see why. Her approach
McCarthy and to painting is a holistic
Katherine Roeder, one, incorporating
the book, Whistler mind, body and spirit,
in Watercolor, and her instruction
explores James isn’t just intended for
McNeill Whistler’s professional artists. In
reinvention this book, Haines will
through water- show you how paint-
color in the ing in watercolor can
American market. Charles Lang Freer collected more enrich your life and lift
than 50 watercolors by the artist, eventually bequeath- your mood.
ing them to the Smithsonian in 1906. This is the first searchpress.com
systematic study of these artworks, and includes figures,
landscapes, nocturnes and interiors. yalebooks.com
Art sts OVER 60
Magazine
ART COMPETITION
Early-Bird Deadline: October 1, 2019
WE’RE LOOKING FOR

ARTISTS AGE 60+ working in
two dimensions in any art media.
Submit your work and you could
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ART FEATURED
Marian Vida | Diverse Visions
Tom Martin | It’s mostly this
Richard Parker | Overherd
Lin Souliere | Ancient Forest
Happenings
/ MUST-SEE SHOW /
Expressive Ink: Paintings Control by Zeng Shanqing

COURTESY OF THE ARTIST
by Yang Yanping and

Zeng Shanqing
Art Institute of Chicago
Through November 10
In this exhibition, Yang Yanping and Zeng Shanqing’s first

in a major American art museum, the artists’ pre- and
post-cultural revolution paintings will be on display. The
married artists were a part of the generation of Chinese
creatives stifled by Mao Zedong’s Cultural Revolution
from 1949 to the late 1970s. International influences
were banned, and the work and expression of China’s
artistic community were heavily regulated. On the other hand, Shanqing’s work is often figurative
Yanping originally was trained as an architect and with horses—commonly accepted subjects in early revolu-
worked in oil, but has since adopted the traditional tionary China. And yet, the artist was still subjected to
Chinese media of ink on paper, focusing primarily on several years of hard labor during the Revolution.
lotuses and landscapes. The Art Institute of Chicago notes According to the museum, Shanqing’s “contorted forms,
that her work is “rooted in traditional Chinese painting sometimes in the fetal position, hint at the trauma of his
but indisputably modern.” earlier years.” artic.edu
Happenings
/ MUST-SEE SHOW /
In a New Light:
Alice Schille and the
American Watercolor
Movement
Columbus Museum of Art, Columbus, Ohio
Through September 29
COLLECTION OF ANN AND TOM HOAGLIN

Discover the
best art tips & Mother and Child in France (watercolor on
techniques, videos, paper, 23½x19½) by Alice Schille
books, magazines, Columbus, Ohio-born artist Alice Schille is celebrated this

year in honor of her 150th birthday—and her contribu-
and inspiration. tion to the American watercolor movement during a time
when women often were left out of the fine art conversa-
tion. She was highly celebrated in the 20th century for
her aptitude in watercolor, her world travels to Europe
and Africa, and for introducing young Midwestern artists
to European styles like Cubism. Nannette Maciejunes, the
Come explore our shop Columbus Museum of Art executive director, says, “She’s
www.artistsnetwork.com/store/ an important figure in art history, and we’re proud to be
reintroducing her to the American public.” WA
columbusmuseum.org.

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Anatomy of a Painting
The Long View It appears that

Long painted the
broad sky before
An English landscape artist travels to Paris adding the distant
and paints one of its cherished sites. cathedral. Once the
upper portion was
dry, Notre-Dame’s
By Jerry N. Weiss towers were laid in.
W ith the end of the Napo-

leonic Wars in 1815,
relations between France
and Great Britain began to thaw. The
cultural benefits were almost immedi-
Notre-Dame From the
Ile St. Louis (1819; water-
color on paper, 7x10¾)
by Amelia Long
ate. Soon after the French defeat at

Waterloo, British artists exhibited at husband was a founder of the National
the Paris Salon, and French painters Gallery. A noted horticulturalist, Long
sent their work to London. Art histo- was the favorite student of watercolor
rian Patrick Noon has written that prodigy Thomas Girtin (English, 1775–
“a profound engagement between two 1802), whose style influenced her
previously unsympathetic schools of work. From him, she learned the prac-
painting resulted in innovations that tices of applying broad washes, adding
would radically affect the course of color to her sketches on the spot and
modern art in Western Europe.” using water reflections in her composi-
Undoubtedly, the most famous tions. She also followed his example of
example of cross-pollination was the choosing large, coarse sheets of paper,
epiphany that French painter Eugène working with a limited palette and
Delacroix (1798–1863) experienced leaving incomplete passages.
in front of a painting by British artist Long visited France at least by
John Constable (1776–1837). As in 1817, when she was painting in
the war recently past, the British had Normandy. Two years later, she
the upper hand. Their art—particu- painted Notre-Dame From the Ile St.
larly in the watercolor medium— Louis. While she’s best known for her
was considered more advanced. English landscapes, it’s safe to venture
One of the many British artists who that she never painted a more success-
visited France after the wars was a ful evocation of atmosphere than she Long’s panoramic view
gifted amateur named Amelia Long did with this watercolor. WA of Paris is reminiscent of
similar compositions by
(née Hume), Lady Farnborough her teacher, Thomas
(1762–1837). Her parents were art Jerry N. Weiss is a contributing writer Girtin, whose work Long
collectors who sat for their portraits to fine art magazines and teaches and her husband
by Romney and Reynolds, and her at the Art Students League of New York. admired and collected.

Notre-Dame de Paris has long been a favorite subject of artists. Ground
was broken for the cathedral in 1163, and building was largely completed by A limited palette aids in the impression
1260. The grandeur of its Gothic design, flying buttresses and monumental of atmospheric unity. Foreground tones are
twin towers made it a symbol of French pride—and the most popular warmer and chromatic while distant colors are
attraction for visitors to Paris. “I believe,” wrote philosopher Jean de Jandun paler and cooler in temperature. The simplified
in the 14th century, “that this church offers the carefully discerning such color scheme and breadth of handling impart
cause for admiration that its inspection can scarcely sate the soul.” a spirit of freshness to Long’s painting.
Notre-Dame, placed in the distance, is seen backlit. The bridge is a most important element, traversing
Although the cathedral towers over city rooftops, its the center of the painting and providing a strong
blue shadow mass connects it to neighboring buildings. tonal accent. Closer to us, a series of small boats
Notre-Dame’s reflection in the Seine anchors the animates the view. The composition is constructed
GIVEN BY MRS. M. V. MACGEORGE/
VICTORIA AND ALBERT MUSEUM
composition and seems to emanate naturally from upon alternating vertical and horizontal shapes;
the arched bridge in the middle distance. broad planes of land and sky are complemented by
urban architecture. In the foreground, the sweeping
diagonal of the riverbank leads us into the scene.
Creativity Workshop
Two Friends, Two Paths

Watercolor serves as the conduit for decades-long camaraderie and creativity.
By Laurie Goldstein-Warren and Dori Beth Josimovich
Artists Laurie Goldstein-Warren and Dori Beth: During this time, we also Laurie and Dori Beth painted
Dori Beth Josimovich have forged a attended several art workshops these portraits as gifts for each
other. Laurie painted Dori Beth
20-year friendship through their together and belonged to the same art
in My Friend (left; watercolor
mutual love of watercolor. The duo groups and guilds. We even competed on paper, 22x17), and Dori Beth
talks about how they support each in the same local art shows. Although painted Laurie in My Confidante
other and—though their artistic prac- competition can sometimes come (right; watercolor on paper, 22x15).
tices differ—how they “see” each other between friends, we were—and
through their creative work. continue to be—each other’s biggest
supporter and cheerleader.
Laurie: We met two decades ago at
a plein air paintout in West Virginia, Laurie: When I was accepted into
where we both lived at the time. The Aqueous, my first international exhi-
spark of friendship was immediate, bition, in 2005, Dori Beth and her
and we continued to paint together husband, Peter, accompanied me
weekly at each other’s home studio and my family to Pittsburgh for
for years. the event.

Dori Beth (left)
and Laurie (below)
work from their
home studios
526 miles apart, but
collaborate on ideas
and provide advice
that spans the
physical distance.
Dori Beth: My family moved to

Michigan 10 years ago, but Laurie
and I have continued to maintain
a strong connection across the miles.
We make it a point to find time to
paint together whenever one of us
travels close to the other’s home.
Laurie: Between visits, we also share

and critique our current work through
social media, emails and phone calls.
We’ve influenced each other’s art,
yet we each have our own voice in
our paintings. Dori Beth paints
with the heart of a colorist. She’s
prolific and works loosely and quickly.
I compose and paint my works with
an emphasis on values. I’ve slowed my
pace over time, now focusing on just
one painting at a time.
Dori Beth: We’ve learned so much

from each other over the years. It’s
a friendship that nurtures not only
our creativity, but our souls.
Laurie: Every artist should be so lucky

to have a friend who offers creative
and personal support and encourage-
ment. I count Dori Beth among my
See the duo’s watercolor interpretations
greatest watercolor treasures. of each other in the following two demos.
Dori Beth’s
demo
Laurie
Step 1
S Step 2
I make a detailed drawing and apply masking tape to the I use Hemalite burnt scarlet brown, alizarin crimson
highlights of the eyes. I then apply a light wash to the background and quinacridone gold (mixed with lemon yellow) to
using Hemalite burnt scarlet brown and Antwerp blue. I do this so cut in around the face and to outline the eyes (detail).
the blank canvas doesn’t seem daunting. I then add a wash of the This helps me define the features as I work.
same colors over the hair and skin, using less blue.
Step 3 Step 4
I continue working on the features, dropping in black, brown and I paint a wet-into-wet glaze of brown and purple over the hair.
purples to shape and define the eyebrows. I also use Antwerp I then detail the hair and jacket. After removing the masking
blue, purple and alizarin crimson for the dark shadows on the from the highlights of the eyes, I soften the areas using water.
neck. I add pinks to complete the lips, eyes and nose, and to flesh
out the arms and cheeks. I apply quinacridone gold to the hair; the
paint will shine through the layers even after I apply darker glazes.

Final
After covering the face with paper as a mask, I use a mouth atomizer to apply
darker color to the background in Laurie (watercolor on paper, 22x24½). TOOLKIT
SURFACE
Dori Beth Josimovich has been painting for more than 20 years, • Arches 140-lb. cold-pressed paper
primarily in watercolor. Through her art, she continues to explore PAINTS
new subjects and ideas, both from reality and her imagination. • Winsor & Newton: quinacridone gold,
She has a strong following of students in her weekly watercolor Antwerp blue, alizarin crimson, ivory
classes held in her home studio. She resides in Southwest Michigan black, opera pink, red, lemon yellow
with her husband, Peter, and youngest daughter Piper. • Daniel Smith: Hemalite burnt scarlet
brown
• Cheap Joe’s: royal amethyst purple
MISCELLANEOUS
• Gator Board, staples, Holbein mouth
atomizer, Pebeo drawing gum
Laurie’s
demo
Dori Beth
TOOLKIT
SURFACE
• Fabriano Artistico
140-lb. cold-
pressed paper
PAINTS
• Daniel Smith:
quinacridone gold,
quinacridone rose
• Winsor & Newton:
lamp black, cobalt,
Antwerp blue
MISCELLANEOUS
• masking tape,
masking fluid,
Pebeo drawing
gum, Holbein
mouth atomizer Step 1 Step 2
I make a detailed drawing based on Before I atomize the background, I mask off the
value shapes, joining like values together subject and seal the edges of the masking tape
in one shape regardless of color. using masking fluid. One of the benefits of atomized
backgrounds is that I don’t have to use masking
fluid to keep background color off the subject.
Step 3 Step 4
After I apply layers of atomized background, I paint the dark values first.
I remove the masking fluid.

Step 5
After each application of dark values dries,
I apply the next lightest value over it.
Try this at home

CREATE A PAINTING
OF A BELOVED
FRIEND OR FAMILY
MEMBER. Final
Send a JPEG (with a resolution of
72 ppi) of your finished painting After removing the remaining masking on the background, I touch up any edges,
to wcamag@fwmedia.com. Use softening some with a misting of water. I also touch the dark background paint
“Creativity Workshop” in the subject onto some edges of the subject in Dori (watercolor on paper, 30x22). WA
line—or follow @ArtistsNetwork on West Virginia-based Laurie Goldstein-Warren (warrenwatercolors.com)
Instagram and share your painting
there: #everywatercolor_friends. has been painting in watercolor for almost 20 years and enjoys
experimenting with new techniques. She has exhibited her award-
winning work in the U.S., Japan, Turkey, Greece, Canada and China.
She received the High Winds Medal at the 150th Anniversary
Exhibition of the American Watecolor Society. She also has been invited
to exhibit and demonstrate at the International Watercolour Masters
Exhibition in 2020. Currently, she travels and teaches workshops across
the U.S. Her professional associations include signature membership in
the West Virginia Watercolor Society, Transparent Watercolor Society
of America, National Watercolor Society and Watercolor West, and a
Gold Medal Fellowship in the Northwest Watercolor Society.
JOEL POPADICS TAKES A LESS-IS-MORE
APPROACH THAT LENDS AN ENIGMATIC
AMBIENCE TO HIS ATMOSPHERIC LANDSCAPES.
By John A. Parks

O ne of the strongest ways
in which a painting can
intrigue is through
restraint—the sense that information
is being withheld and that drama is
being underplayed. Hints and sugges-
tions often engage the viewer in a way
that complete disclosure and spectac-
ular displays never do.
This is Joel Popadics’ strategy.
He renders landscapes with a quiet
simplicity, paring shapes and forms
to the point of transparent clarity
and then painting them with subtly
judged values. With this approach,
it’s scarcely surprising that the artist
is at his best in foggy weather, in
which complex elements are reduced
to luminous outlines and the details
largely vanish. Shrouded in mist, the
landscape takes on curious properties
where recognition can be difficult and
forms can loom enigmatically.
Following the Allure

of Fog & Mist
Popadics’ paintings brilliantly evoke
the atmosphere as they engage in
the formal interplay of shape, identity
and the deep aerial perspective
created by forms enveloped in fog.
“I love fog and mist,” he says. “I’m
attracted to their serenity and peace-
fulness. I love to set up my easel and
be enveloped in these elements. Fog
reminds me of an old black-and-white
Sherlock Holmes movie in which the
action is set in mist—something that
added extra suspense to the film.
“On an artistic level, I like how it
simplifies and obscures detail,” the
artist continues. “It reduces objects
to simple shapes and adds a sense of
mystery to my work.”
As much as Popadics finds atmo-
spheric weather conditions exciting,
he says that painting outdoors in
foggy weather presents its fair share
of challenges. “The damp air can really
slow down the drying time,” he says.
A Maine Morning
(watercolor on paper, 22x28)
The sketch (at left)
“If my car is nearby, I’ll dry the paint for Surf at Acadia
by using the car’s heater; otherwise, National Park (above;
I’d just be standing around, literally watercolor on paper,
waiting for paint to dry.” 22x28) shows the
evolution from plein
While the artist’s paintings of fog air study to painting.
and mist present his approach in the
strongest terms, his handling of other
weather scenarios deploys a similar
strategy of simplification. Details are
heavily edited, and the paintings work
by the power of restraint and sugges-
tion as much as by their clarity of
rendering. “I think great realism worked, the viewer gets to participate in the picture,
captures the impression of nature’s too. A well-placed stroke or two, instead of 20 or 30,
effects,” Popadics says. “It shouldn’t be that describes something convincingly, is masterful.”
merely an inventory of detail. I think
the best statements of light and Chasing Goals & the Golden Hour
shadow are simple. To me, paintings Popadics generally collects his images directly from
overloaded with detail are tiresome. nature, working outdoors in all weather. “When
When a painting is a little under- I began as a landscape painter, I assumed a location

LEFT
Noank Harbor
(watercolor on
paper, 14x20)
BOTTOM
Boats & Pier
(watercolor on
paper, 14x22)
The Joy of
Watercolor
Popadics enjoys the chance
happenings that watercolor
offers. “John Singer Sargent
is quoted as describing
watercolor painting as
‘making the best of an
emergency,’ ” says the artist.
“I agree. Painting in water-
color often feels like an
aerobatic routine where
everything has to be done
in a certain order and if
there’s just one misstep, it’s
all over. That kind of tension
has its advantages and dis-
advantages. On one hand,
it makes me focus more
intensely, but on the other,
it can be defeatist.”
Although watercolor has
its challenges, Popadics
remains a huge champion
of the medium. “Watercolor
brings a feeling of air,
spontaneity and joy to my
landscapes,” he says. “When
a watercolor is done well,
there’s a freshness about it
would magically inspire me,” he to solve and am able to get right down that radiates light and
recalls, “but that wasn’t the case. to work. This way I’m always learning, atmosphere. I’m a bit of
Often, I found myself wandering aim- and I’m much more productive.” a control freak, and the
medium is unpredictable.
lessly around looking for something Popadics’ discipline in painting Watercolor reminds me to let
that lived up to my expectations. extends to his choice of time and go and express myself freely.
After an hour, I’d go home. light. “I try to get out in the early Many times I begin a painting
“I soon realized that if I kept morning or late afternoon during the and think, ‘Oh my, this isn’t
searching for the ‘perfect’ scene, I’d golden hour,” he says. “At that time, going to end well !’ But to my
never get anything done, so I set goals the landscape is colorful, and the delight, the washes dry in
a serendipitous way. I have
for myself instead,” he says. “I took shadows are long. Midday, the light is a moment of Zen when
an inventory of what I did well and flat, and all the color is washed out of I paint a sky and the wet
looked for areas that needed improve- the landscape. I have an app on my paper is just right. If all goes
ment. For example, if my sycamore phone that notifies me when the well, I feel like the creator
trees lacked the proper texture, the golden hour will occur based on my churning up clouds. It’s
next time I ventured out, I’d paint the location. It’s very handy.” exhilarating, and this feeling
first sycamore I encountered. Now, While Popadics remains open to all shows up in the work.”
every time I go out, I have a problem manner of landscape views, he finds
“Watercolor brings a feeling of air, spontaneity and joy to my
landscapes. When a watercolor is done well, there’s a freshness
about it that radiates light and atmosphere.”
himself often returning to particular possible. Many plein air painters finish up what they do ABOVE
situations. “I’m content to set up on location, put it in a frame and show it. I do that, too, Belfast Reflections
(watercolor on
my easel along the edge of a body of but I prefer to hold on to my outdoor work, especially
paper, 14x20)
water,” he says. “Lakes, streams and if it’s from a place where I might not return—perhaps
oceans are all among my favorite a once-in-a-lifetime trip. And then sometimes I go out- RIGHT
things to paint. I’m happiest on an side just to paint for practice.” Pilings in the Harbor
old weathered dock or pier overlook- The artist works up his finished watercolors based on (watercolor on
paper, 22x28)
ing a marina filled with boats.” these plein air sketches. “I’ve accumulated a rather
large stack of sketches over the years,” he says. “I use
Moving From Outdoors them as references for skies, trees, boats and other sub-
to the Studio jects in my paintings.”
The evolution of Popadics’ studio In his studio, Popadics begins a painting by selecting
paintings begins outdoors. “I spend a watercolor sketch done on location as the basis for
an hour or two painting on location,” the larger work. “I then work up a few small thumbnail
he says, “but after that the light sketches,” he says. “After I decide on a particular
changes. I get down as much informa- thumbnail, I’ll do a 5x7-inch pencil drawing where
tion in my watercolor sketch as I work out my composition. From this pencil sketch,

I’ll do a contour drawing on a larger
piece of watercolor paper.”
Once the sky is working to his
satisfaction, the artist turns his
Tips for
This final drawing serves as a simple attention to the other parts of the
outline for placing some of the main
elements. “It’s not too complicated,
painting. “Next, I mass in the ele-
ments of the landscape,” he says.
Beginners.
as I prefer to save the energy for the “After all of the paper is covered, “Drawing is really important
for the beginner; draw as
painting,” Popadics says. “If I draw I’ll mass in the shadows. I’m able to much as you can. Making
too much, I become a ‘filler-inner’ judge my values better—and I’m less art is a numbers game; the
when I paint.” likely to overwork the painting—if all more you make, the better
of the white paper is covered. I don’t you get. There’s an old
Keeping an Even Touch want my watercolor to look labored saying in painting:
Once the drawing is complete, and muddy, so I try not to do too ‘It takes a hundred
to make one proper.’
Popadics is ready to paint. “I generally many layers—just the local color, its “I really believe that’s true.
start with the lightest area in the shadow and the darkest accent. I may Keep your initial expectations
painting, usually the sky,” he says. intentionally leave a small part of my realistic; if there’s one little
“I soak the entire sheet of paper picture a little underdone and let section of the watercolor
with water and use a wet-into-wet the frame finish the work.” that turned out well, consider
technique. I really want to dazzle the Although watercolor is usually a it a tremendous success.”
—Joel Popadics
viewer with this—to make it appear speedy medium, Popadics takes his
easy, as if created by happenstance.” time when completing his paintings.
“I leave paintings that are in progress foreground are rendered in high contrast with simple
all around my studio,” he says. “I’ll shapes while the boats in the distance resolve to shim-
have as many as five or six in various mering gray silhouettes. The painting as a whole evokes
stages. Sometimes I’ll look at a piece the eerie calm and stillness of a foggy morning.
for days or weeks, determining what In other paintings, atmospherics and simplification
needs work. I don’t always know when become more complex. In Ground Mist, Shelburne Farms
it’s finished; sometimes I’m still paint- (below), for instance, cattle are rendered as fairly sharp
ing as I’m framing the darn thing.” silhouettes against a bank of mist. Behind this, the air
Popadics’ approach to brushing is clears to reveal a delicate tree line while above, an early
in keeping with the restraint and sim- morning sky radiates a warm orange light. Here the
plicity of his vision. He doesn’t go in artist uses fine control of soft and hard edges to alter-
for dramatic brushstrokes or spectac- nate clear outlines with more suggestive passages.
ular watercolor techniques, such as The way in which atmospheric effects can evoke
dripping or splashing. Instead, he feelings is explored in Temple of Hephaestus (at right),
uses an even touch across the work a painting the artist made on location in Greece.
with sufficient action to keep the sur- Working on a gray October day, he found the brilliant
face lively and engaging but not so Greek light to be soft and damp, enveloping the temple
much as to draw unwarranted atten- in a delicate shroud of thin mist. The trees are reduced
tion to the handling. to soft, almost-flat elements while the detail is picked
up again in the foreground via the stone steps. The
Embracing the painting suggests some of the powerful feelings of
Atmospherics a deep historical past that the artist felt on his visit.
The strength of Popadic’s approach
is on view in Pilings in the Harbor Creating a Sense of Connection
(on page 25), in which a luminous In the end, it’s this emotional response by the viewers
gray sky sheds an ethereal light on and the resulting sense of connection that drives
a limpid, misted sea. The rocks in the Popadics. “I think that as artists, our highest purpose
ABOVE
Temple of
Hephaestus
(watercolor on
paper, 10x14)
LEFT
Ground Mist,
Shelburne Farms
(watercolor on
paper, 22x28)

is to pursue and capture beauty in
our work,” he says. “Collectors and Meet the Artist
art appreciators have told me how
Joel Popadics (watercolorpop.com) was born in
peaceful my paintings make them New Jersey and studied illustration at the School
feel, and I take that as the greatest of Visual Arts, in New York. He subsequently
compliment. I want viewers to have worked for three years as an assistant to the
an emotional reaction to my work. renowned illustrator James McMullan. After
I want them to feel as though they’ve working as an illustrator for some years, Popadics
experienced a similar effect or to ventured into fine art. His work has been shown in
museums, galleries and group exhibitions across
recall a particular moment in time.” the U.S., and his paintings are represented in many
In Popadics’ paintings, the artist public and private collections. He’s the recipient of
and viewer combine forces to share numerous national awards, including the Edgar A.
powerful and positive feelings about
KATE FAUST
Whitney Memorial Award from the Hudson Valley

times, places and the joys of being in Art Association; the Grumbacher Gold Medal from
the world. WA the California Watercolor Association; and the
Silver Medal of Honor (twice) from the New Jersey
Watercolor Society. He currently serves as vice president of the American
John A. Parks is a painter, a writer and Watercolor Society and is a past president of the New Jersey Watercolor
a member of the faculty of the School Society. An avid teacher, the artist leads workshops across the country and
of Visual Arts in New York. teaches a weekly class at the Ridgewood Art Institute, in Ridgewood, N.J.
On-Site
to Behold
FEW THINGS IN AN ARTIST’S LIFE
CAN RIVAL THE JOY OF DISCOVERING
A CAPTIVATING SCENE, SPENDING TIME
TO OBSERVE AND UNDERSTAND IT, AND
CAPTURING ITS UNIQUE, EPHEMERAL
ATMOSPHERE THROUGH PAINT.
By David Howell
I
grew up in the countryside, and Venice is a beautiful and
from an early age I was particularly unique city, but it can get
aware of the changing weather and extraordinarily busy,
particularly with the
seasons. As my interest in painting tourist throng around
developed, that awareness of my Piazza San Marco and
surroundings progressed into ana- the Rialto. Across the
lyzing colors and tones and the Grand Canal, however,
it gets quieter—and even
effects of different times of the year quieter still—if you go in
and times of any individual day. I learned that the winter. The colors are
nothing stays the same. softer and the light is
I’m primarily a landscape and marine painter, more interesting then,
and whenever I’m outside, I see potential pic- as in Rio di San Barnaba,
Venice (watercolor on
tures. For me, painting isn’t about super-accurate paper, 12x14), a painting
detail but much more about the appeal of a par- of the canal and church
ticular moment in time and location. I want the of San Bar naba.
way I feel about the subject to be apparent to the
viewer. Atmosphere is very much a part of that,
and it’s invariably influenced by the weather, the
season and the time of day, all of which I want to
capture in my painting. A lazy summer landscape
will have a very different feel than a hastily
sketched winter subject.
I don’t adhere strictly to topographical accu-
racy, which I feel should never get in the way of
a good painting, and there are times when I
shuffle elements of the composition about or
leave something out altogether.
What’s essential is to take the trouble to
spend time with the subject. Today we’re fully
equipped with various digital devices that can
easily record a location or event, and many
painters find cameras a convenient way to record
a subject and then work from the photograph. But trying circumstances often turns out
there’s a danger, in that relying too heavily on photogra- to have a vibrancy and sparkle about
phy can actually stop you from taking the time to look. If it that’s lacking in a carefully worked
you don’t take the trouble or experience the occasional studio piece.
discomfort of working outside, or at least spend time In the right outdoor conditions,
looking out in the open, you’ll never see all there is to there’s nothing nicer than settling
see in terms of color, tonal relationships and the little down to paint for a few hours, but
details that make all the difference to your composition. often the location or the conditions
aren’t very accommodating. If the
weather is too bad for painting, it’s I regularly go beating
Working From Life worthwhile just taking time to stand for the local shoot with
a dog and a sketchbook.
Most cameras can’t cope with the tonal extremes that and observe. (If you want to take a Apart from the fact that
the average landscape presents. Cameras invariably photo too, that’s fine, just don’t let it I love working a dog, this
overexpose the sky and/or underexpose the area below be a substitute for looking.) Try to is an opportunity to be
the horizon line. That means that skies will lose color analyze the colors, the tones and the out in the woods and
surrounding countryside
and tone, and shadows and darker areas will be too shapes so that you can remember in winter conditions.
dark. Taking the time to stand and stare—or to sit them hours later. Then ask yourself: I painted Stearsby
down to sketch or paint—will tell a very different Why this scene? What is it about the Beaters (watercolor
story: softer contrasts and color where you wouldn’t location and moment that attracts me? on paper, 14x20) in the
studio from a very basic
expect it. Taking this plein air approach allows you to What’s the point of interest? How do
sketch of beaters and
see so much more, and painting is about seeing—or, I turn it into a painting? dogs standing around in
even more—about what you want other people to see. the snow awaiting
Working on the spot does bring a host of problems To Start instructions. It was very
cold, and the afternoon
that have to be solved. It means sometimes having to
cope with heat or cold, with onlookers and occasionally With a Sketch sky was an extraordinary
color. I went back the fol-
wildlife. It frequently isn’t easy—but then painting isn’t I live in the wilds of England’s North lowing day to get more
meant to be easy, and work produced under somewhat Yorkshire countryside, and my home detail on the tree shapes.

So often, subjects appear
when least expected.
I had arrived in the rain,
on a motorcycle, at my
hotel for the night in
Loches, in the Loire
region of France, and
headed to a restaurant
in search of a beer and
something to eat. Loches
in the Rain (at left;
watercolor on paper,
10x10) was the view
through the window
of the dining room, and
with the fading light,
it turned into a murky,
misty panorama. I used
crayon and pencil for
the preliminary sketch
(below), as it was simply
too wet for attempting
anything else. I loved the
almost monochrome col-
ors, and the way the light
and weather simplified
the details of the houses
with the church tower
dominating the scene.
The following morning
was bright and sunny,
and the view looked
completely different with
none of the atmosphere
created by the previous
evening’s weather.
is surrounded by farmland and forest.

It’s a stunning location, beautiful in
the summer, raw and tough in the
winter, and fascinating in between.
It constantly changes, so I need to
adjust colors and tones from day to
day. Shadows move and skies and
colors change according to the light,
the time of day and the weather.
This variability is why I always
create a small sketch before painting
en plein air—to capture the original
inspiration. Even when I have the
time and supplies to paint for hours,
I start with a little pencil drawing,
even if it’s just a two- or three-minute
sketch. This sketch enables me to
work out the composition, establish
lights and darks and, most impor-
tantly, identify the direction of the
light. It’s critically important at this
point to determine the location of the
point of interest, because two or three
I lived and worked in hours later it may look completely different. The sun
Saudi Arabia in the 1970s will move around and the shadows with it. It can be a
and 80s and spent as
much time as possible
great frustration to see a view you’d like to paint, wait
a few days, and then find that the colors have moved
Equipment Tip
exploring and painting in
both the desert and on, leaves now cover trees that were bare last time you Whenever possible, I work
mountainous regions. saw them, or a golden stubble field has been plowed. sitting on a Walkstool, a
I found the landscape three-legged collapsible stool
If circumstances allow, I’ll make a color sketch, either that sits higher than the
absolutely compelling.
Modern communications
with pen and watercolor or, less frequently, with colored average stool and which
and increasing prosperity pencil. I use a retractable brush, a small 12 half-pan I find very comfortable. It
had brought huge Winsor & Newton Bottle Box (so-called because it has allows me to work with the
changes to the region, a built-in water reservoir) and PITT waterproof pens painting on my lap and the
but there were still from Faber-Castell. This combination is the ultimate in paint box on my left arm,
Bedouin (nomadic with a water container on
peoples) and camels portability. Everything slips comfortably into a pocket
the ground. This approach
in the desert, and it alongside a ring-bound sketchbook. is comfortable enough that
sometimes seemed I can work for hours at a time.
that little had changed
for centuries. This studio Crafting the Image
watercolor, The Trail
From Sa’dah, Yemen Composition is vital—it’s the difference between
(watercolor on paper, a painting that’s OK but not special and one that First, I determine why I want to
15x23), is based on stands out. A painter has to understand that painting paint a particular scene; I decide
sketches and photos is all about producing something that looks good to the what’s important and look for a central
from my time there.
viewer rather than a topographically accurate rendition feature from which to build a composi-
of the scene. In other words: Be prepared to cheat a tion. In a landscape, this could be a
little. You don’t have to paint a row of pylons just group of trees, a distant church, fence
because they’re strung across your subject; leave them posts or a herd of cattle. I’m a great
out if you prefer it that way. Similarly, if there’s a herd believer in the golden- section
of cows under a group of trees, but it’s out of your line approach to composition, which, in its
of sight, that doesn’t mean that you can’t put it in to simplest terms, means that the point
enhance your picture. Ultimately, what matters most of interest should be roughly one-third
is the painting. of the distance from the left or right

edge of the painting—and even better if it’s also one-third
from the top or bottom. Like all rules, this one can be
broken, but, in general, adherence to this principle improves
composition, allows the viewer’s eye to travel into the pic-
ture and assists with the illusion of three-dimensional space
on a two-dimensional surface. Don’t be distracted halfway
through the painting with another point of interest; stick
with the original plan.
Painting Process
Once I’m ready to paint, I like to get color onto the paper as
quickly as possible. I go without any preliminary drawings,
and use a big brush to create broad washes, with a view to
setting the scene and getting the feel of the place in color.
When I do the occasional demonstration, there’s nearly
always a sharp intake of breath as I dive into action, along
with some concern about the amount of water that’s slosh-
ing about (sometimes requiring evasive action by the closest
members of the audience). This isn’t bravado. I’ve found that
a bold start, rather than a lot of careful drawing, encourages
a looser watercolor. It isn’t unknown for me to put a paint-
ing under the tap to soften colors and the surface. I’ll usually
employ a big squirrel hair mop or petit-gris brush for this
I’ve been teaching

at Dedham Hall in
Essex for years. It’s
surrounded by
coastal subjects,
but, when teaching,
I focus on the stu-
dents’ work rather
than my own. The
End of the Line (at
left; watercolor on
paper, 19x19) is a
happy memory of
an occasion when
I was able to spend
an hour or so work-
ing after the students
had headed back to
base. I’d spotted
the potential of this
little group of old
boats and wrecks
at Felixstowe Ferry
earlier that after-
noon, and I pro-
duced a 12x8-inch
pen-and-watercolor
sketch (above),
finishing the larger
watercolor later in
the studio.
stage, and while the washes are still wet, I’ll work more While all this is going on, I’ll have
There’s a flat, low-lying color in with a big sable brush so that the basic struc- my original sketch in front of me, but
region in the southwest
of England known as the
ture of the painting begins to come together. I accept that there comes a point at
Somerset Levels, where There’s a downside to this sort of approach because which a painting takes on a life of its
the land regularly floods there does come a time when the painting needs to dry own. The final result will never be
in the winter. The sketch before getting on with the next stage. If there’s a lot of quite the way that I planned it, but
for King’s Moor in Flood
(watercolor on paper, water involved, this can take some time. In the studio, usually near enough.
11x15) was done on a win- this is time for a coffee; with an on-the-scene audience,
ter’s day, with heavy rain it’s a time for questions.
clouds and a lot of water Then it’s on with the composition, establishing tones About Atmosphere
on the moor. I loved the
fence sticking out of the and color. I use big brushes—rarely smaller than a size Atmosphere is a matter of color, tone
water and the willow 12 and often a 16 or 20 sable. Using big brushes effec- and intensity. Capturing it is essen-
trees in the mid-distance, tively encourages bold, loose work rather than getting tially being able to paint things as
which balance the reeds too fiddly. Objects such as mooring lines and telegraph they are, rather than as you think
on the left. Inevitably, in
this wet moorland land- wires will require the use of a rigger brush, but getting they should be. As ever, this requires
scape, there are birds. bogged down using small brushes is bad news. observation—spending time looking

and analyzing, and it’s one of the rea- Northwestern France. The sea colors there range from
sons that I’m such an advocate of deep, cold blues to cerulean and emerald in varying Essential
spending time with the subject on the intensity. Off the coast of my native Yorkshire, on the Palette
spot. For instance, a cold, wet winter other hand, the sea on a cold winter’s day is more likely
COOL:
landscape may reveal interesting to be rough and gray or even brown. Again, observation
• cobalt blue
colors in lichen and dead grasses and is vitally important to get colors and tones as they are
• cadmium lemon
fascinating variations in grays into rather than as you think they should be.
• alizarin crimson
the distance. It’s always worth the Considering my emphasis on color and tones, it’s
effort of getting cold and wet to see hardly surprising that I have a selection of paints that WARM:
what’s happening in the sky. I know will produce any color I want pretty well. • ultramarine blue
With a marine scene, there can be Familiarity over many years means that my process • cadmium yellow
a surprising variety of color. The color of color mixing is intuitive. My basic palette consists of • cadmium red
of the sea will change according to the 12 colors: a warm and cool version of the three primary EARTH:
weather conditions, what’s under the colors plus six earth colors (see “Essential Palette,” at • yellow ochre
surface and what the sky is doing. I’ve right). I carry all of these in my smallest paint box. • raw sienna
recently been working in Brittany, in If I’m using a larger box, I’ll add cerulean blue for a • raw umber
colder blue, Prussian blue for an even darker and colder • light red
blue, and brown madder usually sneaks in. That’s about • burnt sienna
it. These colors will work anywhere, whether in the • burnt umber
Arabian desert or paddling around in the mud on an
East Anglican marsh. I don’t usually have greens on
board—I prefer to mix my own, often directly on the
paper. I start by painting some blue, adding a little bit
of red, and then adding yellow in varying quantities.
It’s the complementary color principle in action.
I travel a lot. Last week I was in Brittany in France,
painting along the coast. A couple of months ago I was
working in India. My paints go with me wherever I go.
As I’ve grown older, I’ve found that locations I reveled in
painting years ago have changed beyond all recognition.
Little creeks and harbors have been developed into mari-
nas; deserted beaches now have hotels; even Venice has
the obscenity of cruise liners squeezing through the
Bacino di San Marco. I guess some would call it progress,
but it’s hard on the scenery. With a little effort, however,
there are places to be found where you can work in peace,
and where the 21st century doesn’t make itself quite so
apparent—places where it’s worthwhile to slow down
and look deeply, to study the landscape and the light, and
to use your paints to tell the story of what you see. WA
Meet the Artist

David Howell (davidhowell.co.uk) To learn more about
is a professional painter based in Howell’s painting
the U.K. who works in watercolor, techniques, read his
oil and pastel. The artist’s favorite books, Painting With
subjects are landscapes, marine- Watercolours and
scapes, horse racing, field sports Painting With Oils
and anything else that takes his (both Crowood
fancy. He travels widely but is just Press), which are
as happy to be tramping around available in print
familiar territory, watching and and digital format
recording changing weather and seasons. He exhibits at crowood.com.
with various U.K. galleries and at national-level He’s also the subject
exhibitions. He’s a popular teacher and the author of of “Just Watercolour,”
both books and magazine articles on painting. Howell a video available
is a member and past president of the U.K.’s Royal from apvfilms.com.
Society of Marine Artists.
5 WAYS TO
STRENGTHEN
A COMPOSITION
CHARLES REID DEMONSTRATES PRACTICAL STEPS YOU CAN TAKE
TO ENSURE YOUR PAINTING BEGINS WITH A STRONG AND STRIKING DESIGN.
Boats at the Center for Wooden Boats—Seattle
Before you paint a scene, decide what interests you most. What first caught your eye? What part of the
scene will be difficult to paint or will detract from the overall composition? Skip that part if possible, or find
a way to de-emphasize it. If there’s an object you’d like to move, check the values and colors around it first.
Avoid moving objects to areas where the background values would be too similar. Remember that
light-valued objects, in particular, need to be surrounded by darker values that will help define their forms.

1. KEEP IT SIMPLE
Andrew Wyeth was a master of sim-
plification. I looked at a book of his
paintings of Maine and realized that
he usually painted only one subject,
using just two contrasting values.
Sometimes the large light shapes
dominate; sometimes the large dark
shapes dominate. When you look at a
Wyeth painting upside down, you can
see a wonderful abstract design of two
simple shapes with contrasting values.
With Wyeth in mind, I’ve taken a
student’s well-painted but complicated
painting (at right) and sketched one of
its subjects separately (below).
I never make pencil compositions
when planning a picture. Instead,
I create small color sketches like the
one shown. They help me plan my
colors and values more effectively
than pencil. House at Gundy’s Harbor
In this painting by one of my students, we can see a bridge and rocks, a shed and truck, and a
house on a hill. These smaller groups would have worked better as separate paintings.
KEEP IT SMALL
The bigger the picture,
the harder it is to
simplify. When working
outside, limit yourself to
quarter sheets of paper.
Simplify, and then
simplify some more. Can
you make a picture with
only two simple
shapes—one of
connected darks and
one of connected lights?
Simplifying the House

Remember that details get lost and colors fade with distance. In this reworking of the house on the hill, I’ve
either lightened or lost details such as the shutters to create a sense of distance and to avoid cluttering the
mostly white building.
I’ve darkened the ground on the horizon at the right, the chimneys and the cupola, and the cast
shadow next to the house to stress its whiteness.
2. CREATE A VALUE SKETCH
Capture the
“Big Idea” in
a Value Sketch
I made this value
sketch for a morning
demonstration at
Mirror Pond in Bend,
Oregon. Value can
make or break a
composition.
Painting a thumbnail
sketch using one
color—capturing the
“big idea” of the
composition—helps
establish the most
obvious contrasts of
lights and darks, and
keeps you from
getting confused by
smaller, subtler
variations within the
values. Try to keep all
the darks connected.
Include More Subtleties in the Color Version

Your color version need not be an exact copy of the monochromatic value sketch (at left, above). Once you’ve found the
values, you can paint what you want to see and include more subtleties (at right, above). Think of the land and its reflection
as a combined shape as you paint wet-into-wet. After it dries, find a subtle separation between the land and its reflection.
Sky Colors Light Greens Basic Tree Color Tree Reflections Rock Formations
cerulean blue, warming cerulean blue, raw sienna, viridian, ultramarine blue or carmine or alizarin crimson,
toward the horizon with cadmium yellow pale new gamboge and viridian with raw sienna cerulean blue or cobalt
alizarin crimson and or cadmium lemon cobalt blue and/or raw umber blue, and raw sienna or
cadmium orange yellow ochre

3. AVOID OVERWORKING
I never make preliminary drawings in happens that my preliminary color
pencil since the object placement isn’t sketches turn out better than the final
as important as the placement of product. We artists sometimes try too
color and value shapes. It sometimes hard in our finished paintings.
Reference Photo
The bright sunlight created strong cast shadow shapes. On an overcast
day, you wouldn’t see shadows like these, so you may end up painting
windows and small details.
Preliminary Sketch
Compare this sketch to the finished painting (below). I like the warmer
spots of color behind the buildings and the warmth under the roofline in
this version, but the water is too confused and busy. I wish I’d had a larger,
darker, simpler shape for the water, and more of the light-value walkway.
Finished Painting
Catalina Yacht Club
looks too cool, but
aside from that, I’m
satisfied. I simplified
the water into an
overall middle value.
The light shape of the
walkway and the dark
shadow and cast
shadow shapes in the
buildings almost meet
my goal of 75 percent
large simple shapes.
4. LIMIT VALUE CHANGES
Minimize the number of times you change values in a
painting. If you see four or more values, squint to see if
you can combine some of them so that your composition
will be more unified.
Value Is Critical
Color isn’t as important as value
in Log—Greens Farms. This is one
of my early paintings in which
I concentrated on values, and on
losing and finding edges. There’s
almost no color variation, but it’s
a striking painting.
The white paper gives such
a wonderful contrast to the mid-
darks in the log, the trees and the
house in the background, as well as
the dark value of the patch of grass
revealed by the melted snow.
Values Support the Story

I used simple values to support
the “story” of Missouri River Boat.
I wanted the riverboat, the cow,
the rough men manning the boat
and the elderly lady in the cabin to
contrast with the young woman
gazing toward the future and her
new life in Oregon. The young
woman is a large shape, and the
only figure with a light value. She
becomes the center of interest
because she’s unique.
Wyeth’s wonderful com-
positions offer so much inspiration.
He divided them in half, making
the bottom part dark and the
upper part light. I followed this rule
here, but concentrated mainly on
the relative sizes of the two shapes
of light and dark in relation to the
entire picture space.
COURTESY OF AMERICAN HERITAGE
Establish the big, simple shapes

first; they’ll grab the eye. Then add
the interesting smaller happenings
within the big shapes to tell your
painting story.

5. CONNECT SHAPES
So many students separate elements Simplifying the
in their paintings according to the Value Shapes
subject. In reality, yes, a boat is one In this initial sketch,
thing and water is another thing, but I concentrated on
the white boats and
painting isn’t about reality; it’s about their white reflections.
perception. Distinct objects may be There were obvious
perceived as one shape when their connections between
values are similar. the shapes, regardless
of the different subjects.
One of my “usually true” rules is
that a painting with 75-percent large
shapes and 25-percent small shapes
will be more effective than a painting
with 25-percent large shapes and
75-percent small shapes. Busier, fus-
sier paintings tend to be less effective.
A good way to make larger shapes is
to connect areas of equal value. WA
Complicating
the Scene
We all want too
much when painting
a finished piece.
I was intrigued by the
water ripples in The
Center for Wooden
Boats—Seattle, but
I wish I’d left the
water as simple as I’d
made it in my sketch.
The shapes here are
more separate, each
object more distinct.
Because the shapes
are broken into
smaller pieces, the
scene is busier.
This article is
based on an
excerpt from
Meet the Artist
Charles Reid’s Charles Reid (1937–2019) passed
Watercolor Basics, away in June 2019. The award-
a new North Light winning artist specialized in
Classic Editions watercolor. He taught classes and
10th Anniversary workshops, and exhibited his work
book, to be in both the United States and
released in Europe. Visit charlesreidart.com
December. for more information.
PA I N T I N G T H E
Poetry of Nature
FOR NORTH ASIAN ARTISTS HSIN-I KUO OF TAIWAN AND JINSONG ZHANG
OF CHINA, WATERCOLOR IS THE PERFECT MEDIUM FOR CONVEYING
THE BEAUTY AND MYSTERY OF THE NATURAL WORLD.
by Isabelle V. Lim

P
ainting is one of the oldest, continuous artistic traditions
in Asia and, consequently, it’s also a form of art that has
long been dominated by men. More recently, however,
women artists in Asia—especially those working in
watercolor—have been making successful forays into
the painting field. Artists Hsin-I Kuo and JinSong
Zhang are two such examples. The two women enjoy a
similar cultural background, speak the same language
and share a love of the watercolor medium. Their artwork, however, offers
distinct expressions of their own individual visions, inspired by nature,
and then cultivated within their own inner worlds.
I had the pleasure of meeting the artists in their home studios and
spoke to each of them about their art-making lives, their creative processes
and their painting methods in watercolor.
ABOVE
Lotus Pond and Koi
(watercolor on paper,
30x41) by Hsin-I Kuo
RIGHT
Spring Greeters
(watercolor on paper,
12x8¼) by JinSong Zhang
ON INSPIRATION so inspiring. This vitality calls me
Kuo: I strongly believe that out to paint. This intimate observa-
inspiration is revealed quietly when tion of the petals and leaves
the mind is free and unaware of the enhances my floral paintings.
environment. In the past, I sought My studio has abundant natural
out subjects and objects—such as lighting with windows that open
colorful, discarded beverage cans— out to the garden for inspiration.
to paint. Later, I came to realize that The blooms I paint originate in my
the subject lacked a personal quality. garden, but it’s my inspiration that
The stunning chaos and bright colors keeps the subject fresh.
weren’t connected to my own
inspiration. The lotus ponds, on the ON CHOOSING WATERCOLOR
other hand, may be ordinary, but my Kuo: Watercolor fits my personality
imagination is speaking when the well. Other water-based materials
viewers peer into this creative space. are compatible with watercolor, so
I often mix Chinese ink, and other
Zhang: I’m inspired by nature. colored inks and dyes, in my work.
Hsin-I Kuo I observe vivid natural imagery in
different moods and lighting. Every Zhang: The medium expresses
Kuo is a native of Taichung, morning, I linger happily in my home my concepts well. It’s a friendly
located on the western side garden to watch the many buds and medium for the language of art
of central Taiwan. The city is
a gateway for exploring the blossoms greet the morning sun. The and a lovely tool for communicating
country’s mountainous dewdrops on the petals and leaves are with people.
interior. Kuo attended the
National Taichung University
of Education, earning an
MFA in 2016. She lives in
Taichung in a three-story
building. She converted the
second floor into her paint-
ing studio.
There, Kuo keeps two
6½-feet-long working tables
to support two oversized
paintings that may be in
progress at any one time.
“The tables can be joined
easily for paintings that are
longer than 6 feet,” Kuo says.
“Or, I can paint the whole
piece upright by leaning it
against the wall.”
The artist’s work focuses
on lotus ponds, a compelling
subject that has inspired her
art-making for more than six
years. “I never get tired of
painting the lotus ponds,”
Kuo says. “Whenever I start a
new piece, it’s just like meet-
ing a new friend and happily
making a fresh connection.”
She looks to nature to
find beauty but turns inward
to create artwork that com-
municates on a deeper level.
“We must be humble in the
face of nature,” she says.
“To compose a painting,
I connect my eyes with my
inmost heart to dig deeper.”

JinSong Zhang
Zhang was born in Hefei, the capital of the Anhui
Province, in China. Zhang holds a B.A. in textile and
apparel design from the Soochow University and also
completed a postgraduate degree in media arts in
the International School of Software at Wuhan
University. She currently lives and paints in Suzhou, in
China’s Jiangsu Province.
Zhang’s love of the watercolor medium began
when she studied watercolor in college. The flow of
paint on paper—with colors merging and blending
magically—shares a kinship with silk painting, of
which she’s a master. “One can never predict the flow
of the watercolor on the paper,” Zhang says, “but
when the visual effects create luminosity and brilliant
lights, these are unalterable.”
Zhang has many painters interested in learning
from her. She welcomes students to her home studio
on a regular basis. And, a national publisher in
Beijing has compiled her art and tutorials into three
books that are selling well throughout China.
LEFT ABOVE
In Quietly Waiting (watercolor on paper, 30x41), Of her watercolor, Persimmons Ruyi (watercolor on
Kuo describes the lonely red flower as “dancing paper, 21x30), Zhang says: “In Chinese culture, both
above its imperfect surroundings.” Her concept Ruyi and persimmons possess auspicious meanings.
arose as a metaphor to describe a loneliness Ruyi means ‘as you wish,’ and persimmons represent
that calls out for some loving attention. “The fortune, because of their ripened golden hues. For my
color blue in the painting represents melancholy setup, I filled a typical Chinese bamboo basket with
and coldness,” Kuo says. “The warm red is fruit and placed everything on a sheet of white silk.
meant to show the joy of being the protagonist The blue glass bowl provides a complementary hue
in the painting. The contrasting play between to the orange tones. The painting process was
hues provides visual vibration and energy.” smooth and joyful, as I know the fruits by heart.”
ON EXPRESSION Zhang: What I care about most is It’s important to be able to control
Kuo: We all have our own ways of how to translate the character and the water and the interactions of cool
communicating. Painting is an art, charm of my floral subjects into my and warm tones. I find that’s the way
and is just another channel for art- paintings. I paint from a live still to see and convey the effects of the
ists to realize their hearts and to life setup and some photo refer- strong light.
share with others. Often, I hear ences. The still life setup allows for
comments that my paintings are direct observation which encour- ON COLOR
“tight.” I might be explaining every- ages more honesty in terms of color Kuo: Colors can alter a viewer’s mood
thing more clearly than in traditional and color temperature. or feelings about a painting. Although
watercolor, but it’s my personal way I like to convey my ideas with I paint a single subject matter, each
of expressing myself. bold marks and an expressive piece has its own individual connota-
The reason I paint on a large surface approach to color. I lay down a dark tion. In order to invite the rich
is for the challenge. Few watercolorists background with color washes. This atmosphere of the lotus pond, the
have escaped this size limitation. process allows me to see the high- impression of cold and warm colors
Large paintings offer broader excite- light details and the lightest must merge cohesively. I want my
ment as there’s no fixed pattern and sections. Then, I try to keep the lotus ponds to convey calm, so view-
no limitation. other layers thin and pure. ers want to observe longer.

LEFT
Blue and White Bowl (watercolor on
paper, 21¼x30) by JinSong Zhang
BELOW
The Catch of the Reflection
(watercolor on paper, 44½x22)
by Hsin-I Kuo
Zhang: I prefer the impression of Kuo: My paintings are derived from

bold colors although these must obvi- my personal vision, perspective and
ously match well with the authenticity understanding. The thematic floral
of the flowers. I love all colors. paintings are based largely on the
flowers in my home garden, which
ON STYLE are mostly Chinese varieties. There
Kuo: I don’t have a particular style, as are millions of floral artists out there,
I take different plans and approaches and we’re painting some similar sub-
whenever a creation commences. jects. I admire this acclaimed work,
There’s no standard tactic in terms of but I don’t allow my works to be
technique. All problems are solved influenced. I express every single
during the creative process. brushstroke from my own heart.
Kuo’s Toolkit
PAPER
• Arches 140- or 300-lb. or
Waterford 140-lb., mounted
on acid-free foam board
BRUSHES
• Variety of medium-sized
round brushes
PAINT
• Sennelier, Daniel Smith,
Maimeri, Mission
MISCELLANEOUS
• Masking fluid (used sparingly
as needed)
“Every morning, I linger happily in my home garden to watch the many buds and blossoms
greet the morning sun. The dewdrops on the petals and leaves are so inspiring.”
—JINSONG ZHANG
ON SHARING ART As for exhibitions, I participate

AND TECHNIQUE in selective shows in China, and Zhang’s Toolkit
Kuo: There are no shortages of recently my paintings were show- PAPER
opportunities to exhibit in Taiwan cased with a group of Chinese • Arches 140-lb. in 22x30 and
and abroad, and I choose from these watercolor artists in Austria. Going 15x22
invitations carefully. forward, I’d like to focus more on
BRUSHES
my painting. Entering national com-
Zhang: I teach fundamental sketch- petitions is always a rewarding goal. • Variety of round brushes from
ing and watercolor techniques in my DaVinci Artissimo and Martini,
home studio as well as design classes ON CULTURAL DISTINCTIONS good-quality Chinese brushes
at the Institute of Construction and BETWEEN EAST AND WEST PAINT
Communication, in Suzhou. I accept Kuo: Cultural diversity and art are • Paul Rubens, Schmincke
a number of invitations to hold the treasures of humanity. There’s no
workshops and demonstrations geographical distinction between
around China. East and West as long as we speak the

ABOVE
Lotus Pond Theater
(watercolor on paper, gradually. I can testify to this from my common to find watercolor depart-
40x60) by Hsin-I Kuo
own teaching experience; my stu- ments in the universities. The internet,
LEFT dents welcome my suggestions to which links the world together;
Elegant Chrysanthemum express their inner expression rather Chinese translations of books from
(watercolor on paper, than simply painting what they see. foreign publishers; visits by interna-
10¼x15) by JinSong Zhang They seem to enjoy the process more tional artists—these all inspire and
and are very eager to learn. motivate Chinese artists. They’re keen
to develop new skills and techniques,
ON THE POPULARITY and to integrate traditional Chinese
truth of beauty and goodness. OF WATERCOLOR watercolor into contemporary styles.
I embrace humanity. Kuo: There’s an active trend to paint The unique combination has become
with watercolor in Taiwan. Collectors popular, which is welcome not only in
Zhang: Western art is inspired by are looking seriously into collecting China but across the world. The
nature and humanity while Eastern art watercolor paintings. My works are Chinese collectors who put a high
is based largely on visual observation. collected by both Taiwanese and value on traditional watercolors are
Western painting strongly displays international art lovers. The conve- becoming more relaxed with their
an individual artist’s inner feelings nience of internet networking investments, collecting more new and
while Eastern painting represents strengthens the communication modern watercolor artworks. WA
the direct imitation of the artist’s among artists across the globe. It’s
vision and perception. important to share Eastern symbols Hong Kong-based artist and writer,
In China, most professional artists and to celebrate the Taiwanese iden- Isabelle V. Lim ( isabelleart.com), has
create their artwork according to a tity with the world; however, each painted in watercolor since childhood.
theme set forth by the national art artist enjoys an independent identity She also works in pastel and has earned
exhibitions and competitions. It’s an that reflects the uniqueness of his or Master Pastelist status in the Pastel
art culture that celebrates technique her own culture. Society of America and the Société des
over creativity. Pastellistes de France, and Master
Because of the connection of the Zhang: Watercolor is actually the most Circle status in the International
internet, however, things are changing practiced art medium in China. It’s Association of Pastel Societies.
Natural
Wonders SHARON PITTS PAINTS THE NATURAL WORLD
IN A STYLE THAT MAKES THE MOST OF THE
VARIETY OF COLOR AND SHAPE IN NATURE.
By Amy Leibrock
S
haron Pitts’ first memorable art experience occurred in third
grade. When her teacher asked the class to draw a spring
picture, the image of a butterfly popped into Pitts’ head, so
she took out her paper and crayons and went to work. A color-
ful, intricate drawing soon filled the entire page. “My teacher
looked at it with her eyeballs widened, and all the kids sitting
near me stared at it,” she says. “I remember how special that
made me feel, and that feeling never went away. I still get that
feeling when I’m working.”
Today, Pitts paints the natural world—trees, flowers, nests, leaves—in a style
that’s representational but with abstract qualities. Vivid color draws the viewer
into tangles of branches, petals and leaves that burst off saturated backgrounds.
And although the artist has remained true to nature themes, it’s primarily
the process of art-making rather than the subject matter itself that has sustained
her throughout her career. She approaches each painting as an experiment and
rarely has a clear idea of how she wants each to look when it’s completed. “I’ve
learned to value the unexpected in the process,“ says Pitts, who teaches water-
color technique classes at the Montclair Art Museum, in New Jersey, and in
travel workshops around the world. “I often tell my students that watercolor
is for the adventurous. Don’t be afraid to go out of your comfort zone.”
To Pitts, watercolor is like a partner who pushes her to discover new things.
“I watch how watercolor flows, how it merges, how it dries,” she says. “What
might have been considered mistakes become opportunities to try something
unplanned. In many ways, creativity comes from moving to Plan B.”
Gustav’s Forest
(watercolor on
paper, 11x11)
WORKING FOR ART died, I found my art evolving into these tree paintings
After encouragement from other art teachers throughout without even considering them,” she says. “They just came
her schooling, Pitts majored in art at the University of to me. Painting them gave me a certain feeling of comfort.”
Illinois, Chicago, focusing on painting, photography
and sculpture; she worked her way through art school by
taking temporary office jobs. She was offered permanent GETTING LOST IN THE PROCESS
jobs along the way, but art remained her top priority. Pitts starts many of her paintings en plein air, often at
“I remember always being aware of the fact that it would gardens near her home in New Jersey. “I find fascinating
be an extremely big mistake if I didn’t make sure to keep things all around me,” she says. Just seeing a branch out-
the arts part of my life,” she says. side her window gets her thinking about how she’d draw
As a student and young artist, Pitts painted primarily in and paint it.
acrylic. After marrying and having her first child, she read After beginning work outside, she brings the painting
that the artist Paul Klee worked in watercolor when his back to the studio. “I start adding a little and playing
children were young because the medium was more mobile around with the background, exploring a couple of ideas
and flexible than acrylic or oil. Pitts was familiar with from my imagination. Then I might look at some photos
watercolor from color-study work in college, so the new to see if there are other ideas that I might be able to add,”
mother bought watercolors, paper and brushes and started she says. Each painting draws inspiration from a combi-
playing. “Almost immediately, I remembered how much nation of real life, photos, imagination and ideas from
I loved the transparent look of watercolor,” Pitts says. “It’s previous paintings. Pitts isn’t interested in making an
a very independent-minded medium; it really wants to do exact copy of nature. “I don’t find that interesting, and
what it wants to do. I love working back and forth between I don’t think I’d paint if that were the case,” she says.
letting it do what it’s going to do and trying to control it.” Pitts used to rely heavily on an initial drawing, but
Watercolor has been Pitts’ medium of choice ever since. she works more loosely now. She only draws if she thinks
She painted florals for a while, which allowed her to she might lose her way in a complex subject, like the nest
explore design and color. Other favorite subjects have paintings she has been painting in recent years. She found
included cowboy boots, Hawaiian shirts and kimonos. the subject of Nest I, Van Vleck (above) during one of her
But after suffering the loss of her younger son when he local garden sessions. Transfixed by a nest entangled in a
was 18, Pitts suddenly wanted to paint trees. “After he large branch cut from a tree, she asked permission to take

the nature vignette back to her studio. Once there,
she wrestled with propping it up so she could paint it.
She determined it needed to be painted in a fairly
large, horizontal format, so she cut a 25x45-inch of
Arches cold-pressed paper from a roll. She then clipped
the paper to foam core, propped it on an easel and
started to draw the loose intertwined pile of leaves and
twigs. “It was a real challenge,” she says. “Once I got the
drawing down, I took a deep breath.”
To prep for painting, Pitts creates separate palettes of
individual colors—one for blues and one for greens, for
example. She then lays the paper flat on the studio table.
To begin Nest I, Van Vleck, Pitts painted one long twig and
then another, ensuring that each was dry before painting
the next. After the paint has dried, she often puts the
piece back on the easel and asks herself: “How is it devel-
oping? Is it coming into balance? Are the colors I want in
it featured?” She goes on to explain, “I answer those ques-
tions in my mind, place the painting back on the table and
execute what I think the piece requires. And then I go
through this process again until it begins to take shape.”
To create the balance she desires, Pitts focuses on
color. “If I want a nest to be really vibrant with a touch
of whimsy, I might start with a bright orange,” she says.
She’ll mix the orange, start with it in one area and work
ABOVE
Nest I, Van Vleck
(watercolor on
paper, 25x45)
RIGHT
At the Iris Garden
(watercolor on
paper, 22x30)
LEFT
Vortex Nest, II
(watercolor on
paper, 36x36)
BELOW
Golden Leaves
(watercolor on
paper, 11x11)
until the orange is balanced throughout

the painting. Then she might mix a
toned-down yellow and repeat the
process, following it with a rust color.
“I observe how the brighter colors look
with the duller colors, and then I might
introduce another bright color, say, a
rose,” she says. “I might decide to revisit
the orange and rose again because I don’t
paint all the orange at once and all the
rose at once.” Once she achieves the bal-
ance and colors of the subject, she adds
the background, most often in a contrast-
ing color to the subject’s dominant colors.
After Nest I, Van Vleck was completed,
Pitts was surprised by how wildly color-
ful and exuberant it was. “I’d never
painted anything quite like this nest,”
she says. “There was something about
it that refreshed my work in a way that
I’d never experienced before.”
EVOLVING IDEAS
After Pitts painted several more nests
from life, she was able to create addi-
tional works strictly from memory and
imagination, such as Vortex Nest, II
(above). Many of her series evolve in
this way—from the real to the imagined.
“I can’t put every idea I get into every
painting, so I’ll save them for subse-
quent ones,” she says.
Take Pitts’ tree trunk paintings. The
first one the artist painted was a commis-
sion of a real setting featuring a fore-
ground of trees through which a bay and
a distant island can be seen. As Pitts was
painting that scene, she considered other
ways to depict it, and the background
became more mystical and abstract in
subsequent paintings.
In Mystery of Trees I (opposite), for
example, the trees became a screen that
reveals a more distant, experimental
background. “I was trying to paint the
trees so that they looked good together,
but each had a unique personality,” she

says. When the trees were dry, she painted the back-
ground in vertical slivers from the top down. “I started Turn for a demo
with a dark blue mixed with a tiny bit of super dark
green,” she says. “When I got two-thirds of the way down
and everything was still wet, I added in a little green to
make the transition from sky to landscape, and then
I moved on to the next sliver.”
BECOMING ONE
Meet the Artist
After completing hundreds of paintings, Pitts still isn’t Sharon Pitts (sharonpitts.com)
quite sure where her ideas come from, but she’s quite holds a B.A. in plastic and graphic
sure that art is in her being. Her advice for artists looking arts from the University of Illinois,
for ideas and inspiration? “Take a walk, look around and Chicago, and has studied at the
Pennsylvania Academy of Fine
listen to that soft inner voice,” she says. “Ideas come in Arts, the Barnes Foundation and
through the side door, perhaps not fully formed or com- Montclair State University. Her
pletely understood, and sometimes ideas that are initially work is featured in collections
unrelated become one idea.” throughout the United States
and in numerous exhibitions. As a
Amy Leibrock is a Cincinnati-based freelance writer and workshop instructor, she teaches at the Yard School of
Art, Montclair Art Museum, in Montclair, N.J., and gives
content manager. workshops around the world. She’s a member of Allied
Artists of America and Studio Montclair, Inc., and is
listed in Who’s Who in American Art.
Mystery of Trees I
(watercolor on paper, 40x60)
demo
A Swirl of Color
The strategic placement of complementary and analogous hues
adds a sense of vitality to the composition.
Toolkit
PAINTS
• Pitts prefers different brands of
paint for different colors, which she
tracks in a notebook.
BRUSHES
• The artist likes rounds, especially
Isabey. “There’s something about
the weight, the amount of paint
they can hold, the points, the
various sizes and shapes—I love
that brand,” she says. She’ll use
small brushes for details, but isn’t
afraid to use larger brushes. “I love
to pick up a big No. 12 and use just
the point of it. It changes the way
I paint, and it makes my work
fresher and more fun.”
Step 1
I used a 3H pencil to sketch the basic layout, ensuring the lines weren’t too
specific. I added masking fluid to save delicate linear areas and shapes
and then slowly began painting along and among the lines of the sketch.
Step 2 Step 3
I sketched additional areas where necessary to I continued building up lines and shapes, observing how the primary
strengthen the composition. I then painted sections elements began to emerge from the secondary elements.
around the nest, emphasizing balance of color.

Step 4 Step 5
I used complementary colors in areas that I wanted to To maintain definition, I painted wet next to dry for lines
emphasize and bring forward; I applied analogous colors and shapes. Note how the colors and shapes affect one
where I felt the areas needed to be subdued. another and contribute to the flow of the subject.
Final Step
Once I determined that the composition had a strong presence, I painted the background in Nest II, Tuscany
(watercolor on paper, 22x30). WA
Burning Question
What weather
conditions most
inspire you to pick up
brush and paint?
Michael
Reardon
Cool, foggy or rainy weather calls
me to the studio to paint. In fact,
around my house, such weather is
known as “a painting day.” The
high humidity means the paint
dries very slowly, leading to
washes that flow smoothly and
wet-into-wet applications that
blend effortlessly. I have to admit
that I even keep a hygrometer
near my desk. When the relative
humidity gets down near 60
percent, I take it as a sign to wrap
up the painting and move on to Gloucester Atypical (watercolor on paper, 12x16) by Frank Eber
pencil studies.
I often remind students that
there’s a reason that the British do
watercolors and the Navajo do
sand paintings. While watercolor
can be done in drier conditions,
Eric Wiegardt
When painting en plein air, I like a slightly overcast
it’s much more pleasurable and
day; it allows me to set up anywhere I choose without
effective on drippy days.
having sunlight directly on my paper or palette.
Direct sunlight on my painting makes it difficult to
judge value and color relationships. If I’m simply
gathering photo references, however, a bright sunny
day can be quite inspiring.

Frank Eber
When painting outside,
I find that the best weather
condition is cooler
temperatures with either
sunny, partly cloudy or
cloudy skies and, preferably,
no wind! It can be very
difficult to do decent washes
when it’s either too hot or
too windy. I also really love
painting on days with
moderate fog.
Ron Stocke
I like painting in early
morning or late afternoon
when the temperatures are
warm enough that the
washes dry, but not too
quickly. I love a strong light
source that dissolves the
edges and changes the color
of my subject. I use the
shadows that are cast by
backlit objects to create
mood and help direct the
viewer’s eye.
“ While watercolor can be done in drier conditions,

it’s much more pleasurable and effective on drippy days.
— MICHAEL REARDON ”
Kathie George
A bright sunny day is far and away my favorite sort of day for painting. In particular, morning
sunlight or the late afternoon golden light really makes my mouth water. It’s the shadows, you see.
The contrast between the sunlit areas of my subject and the shadows that are being cast are so
much fun to paint. I love that cell phones are built with such wonderful cameras nowadays. When
I don’t have my brush, I’ll be snapping photos like crazy from which to work later in the studio.
Watercolor Essentials
W hat would a movie or play

be without a carefully
planned set to create a
backdrop to the story being told?
When set designers prepare for a play
or movie, the first thing they do is
map out the scene. They pay attention
to the energy and vibe as well as to
the essential details that best create
the backdrop and draw the audience
into the story. Without a compelling
backdrop, the story is incomplete.
So it is for visual art.
When I paint, I don’t try to depict
exactly what my eyes and brain regis-
ter. Instead, I interpret, evaluate and
manipulate the two-dimensional scene
to find an intriguing set of shapes and
details that will allow for the most
interesting story to be told.
I start by creating sketches to use
as reference, changing the focus,
One Fleeting Moment (watercolor on paper, 15x11) elements and shapes to find the
combination that will enable the story
to emerge. To determine which
elements of the scene will create the
Setting the Stage

most interesting painting, I consider
several factors: space division, format,
composition and painting execution.
To demonstrate, I’ll walk you through
Consider these four key elements when preparing my creative process for One Fleeting
Moment (at left).
to tell a visual story.
SPACE DIVISION
By Steve Griggs with Sue Martin Griggs I begin by imagining the actual scene
before me (A) as a page, and I look for
specific divisions among the elements.
There are a multitude of divisions (B)
that can be created from one scene.

B
C D
I observe the space between buildings, divisions are laid out. Design ele- Our brains typically default to the
trees, light poles, cars, mountains, etc. ments enhance the movement of the landscape format because they’re con-
Typically, I can find at least one primary actor or ensemble in the ditioned to the horizontal orientation
division that shows sky or some form scene I’ll paint. of TV, movie and computer screens.
of background. Another division But when I’m choosing the format for
shows the middle ground featuring FORMAT a painting, I consider how to use for-
buildings or geological forms, while Once I’ve determined the space mat to make the scene more dramatic,
another indicates the foreground, division I want to highlight, I can interesting or compelling. Key to this
often featuring people, animals or then select the format, or orientation, process are strong compositional and
foliage. The key is identifying and that will best showcase my intent for tonal elements that enhance my idea.
simplifying the large shapes from the scene or for the creative element With this in mind, I choose from
which to build. All other design deci- I most want to accentuate, such as the one of five formats: square (C), land-
sions, such as background and center interaction between individuals or the scape (D), elongated landscape (E),
of interest, depend on how the space scale of a scene. portrait (F) or elongated portrait (G).
Watercolor Essentials
F G
SCENE ANALYSIS
When I’m painting a cityscape on site,
the scene is almost always dynamic.
People are walking, cars are moving
and there’s a constant flow of activity.
Because of this, I don’t have station-
ary actors with which to work. I solve
this problem of moving figures by
developing my own figures and groups
of people and placing them where
I feel they belong (H).
Of course, stationary elements
are present in the cityscape, too—
H buildings, awnings, trees, parked
cars—and they aid the design by

I J
acting as visual anchors. I also look

for elements that will enhance the
story through strong verticals, such
as poles, sign posts and windows.
In addition, I note pockets of color
that will help accentuate the perspec-
tive and direct attention to the center
of interest.
PAINTING EXECUTION
At this point in the process, I’ve made
the structural design decisions that
create the vision for the painting and
am ready to lay in the initial back-
ground applications by introducing
both warm and cool washes (I; detail).
With the structural decisions firmed K L
up and the background washes down,
I’m able to exercise creative freedom
as I develop the painting. Using darker By the time I add final details to Steve Griggs (stevegriggswatercolor.
values, I move the painting toward the the painting (L and on page 60), I’ve com) is a nationally known, award-
viewer and around the center of inter- created a backdrop that draws in the winning artist and workshop instructor
est (J; detail). To complete the piece, viewer. The stage has been set, the from Colorado. Sue Martin Griggs, also
I introduce flourishing marks, high- actors are in place, and all that’s left known as The Artist Whisperer, is his
lights, dry brushstrokes and details is for the viewer to tap into memories, life and business partner.
that enhance the drama and bring out feelings and emotions to complete a
the compelling story (K). personal and dramatic story. WA
Bright Ideas
P lacing people in paintings can

enhance the visual experience for
viewers, helping them sense life
within a scene and become a part of
the story being told. The myth that
painting people in watercolor is
difficult can be dispelled with some
practice and courage. Consider these
10 practical tips for adding figures to
your landscape paintings.
1. Position the figure in relation
to or in context with the subject.
A figure shouldn’t distract the viewer
from the main subject; instead, it
should enhance the visual experience.
The viewer often identifies with the
solitary figure in the landscape and
thus connects with the painting, so
the importance of a relevant figure
shouldn’t be underestimated.
2. Depict dynamism. Unlike other
elements in a landscape painting,
figures are dynamic subjects. When
drawing them en plein air, they need
to be rendered quickly because their
postures and expressions are fleeting.
Simplify their shapes; what matters
most is their essence and gesture.
Details of facial features and clothing
are often superfluous.
3. Use proportion effectively.
To provide a sense of realism, keep in
The prominent figure in A Lonely Street

(watercolor on paper, 14¼x10¼) draws the
viewer into the landscape.
Peopling the
Landscape
Follow these 10 easy tips for adding
a little life to your paintings.
By Sagnik Biswas

“ A figure shouldn’t
distract the viewer
from the main
subject; instead, it
should enhance the
visual experience.
”
mind that the human figure is 1 part
head: 6 parts torso—and that the
head of an adult is proportionally
smaller than that of a child’s.
4. The placement of the head and
the position of the shoulders are
the most critical components. They
can denote what specific task a figure
is performing. Once these gestures
are captured, painting the rest of the
body is relatively easy. The lower part
of the body can be created by the drag
of a wet brush unless you need to con-
vey movement or a specific activity,
such as kicking a ball.
5. Let the color of one part of
the body run into another. Doing
so can create a more credible visual
experience. We may not realize it, but
when we observe things around us,
adjacent colors tend to merge.
ABOVE 7. Consider locale when

In Up the Stairs (watercolor on paper, working on skin tones. When
14¼x10¼), I depicted the group of people
painting skin tones in tropical or
as a unit.
warm-weather countries, burnt
LEFT sienna is very effective. For cold-
Most of the figures’ heads fall on the line weather countries, jaune brilliant can
of vision in Towards Light (watercolor be useful. In both cases, orange can be
on paper, 10¼x14¼).
used to warm the skin tone (in sun);
burnt umber or Van Dyke brown can
cool it (in shade). Using a complemen-
6. Keep perspective in mind. tary color such as blue to denote
Besides the gesture, the other impor- shade may gray down the flesh tones,
tant aspect of portraying realistic causing them to lose their natural
figures in a painting is the principle warmth and vitality.
of perspective. Considering that most 8. Accessorize the figure. Go
landscapes are drawn at eye level, all beyond the figure to add a sense of
of the figures’ heads, whether near or realism and vitality to your landscape
distant, must fall in one line: the line paintings. Include items such as walk-
of vision. As figures appear closer to ing sticks, scarves, open umbrellas,
the foreground, they increase in size, rucksacks, books, packages, sun-
but the heads still remain touching glasses and smartphones to convey
the line of vision. the environment and setting.
Bright Ideas
Similarly, the inclusion of animals,

such as dogs and cats, can go a long
way in accessorizing the figure.
9. Depict a group of people
as one shape. Instead of painting
individual figures, it’s easier—and
more visually impactful—to show
them as a unit. Less is always more.
Avoid the “fence” effect, in which all
figures appear at equal intervals, much
like the posts in a fence. Also, vary the
distances between figure groupings.
10. “Ground” the figure. Use
shadows and reflections to connect LEFT
Shadows ground the
the individual to the ground on which walking figures in
he’s standing, walking or sitting. WA Turning the Corner
(watercolor on
As an architect, it was Sagnik Biswas’ paper, 14¼x10¼).
dream to study Roman architecture, but
BELOW
once he visited Uffizi, he fell in love with A guidebook,
painting, a hobby which has now with- smartphones,
stood the seven-year itch. “My water- purses, sunglasses
colors are like a personal memoir of my and hats add a
sense of real life
myriad travels,” he says, “that tell stories to A Point of View
of people, architecture and places.” Visit (watercolor on
paintpaperbrush.com for more. paper, 11x15).

artist’s marketplace
Tom Lynch 10/7-10/11/19, Arroyo Grande. Robert Burridge 5-Day
WORKSHOPS 1/14-1/17/20, Tucson. Instructional Studio Workshop. 5-day Workshop in Bob’s
Studio (Monday-Friday).
Contact: 630/851-2652
ALABAMA Tomlynch@msn.com or www.TomLynch.com 10/17-10/20/19, Arroyo Grande. Robert Burridge Studio
Jan Sitts Mentor Workshop. Come paint with Bob in his Studio (includes
Tony Couch, AWS
individual mentor time, demonstrations and personal theme
10/7-10/10/19, Huntsville. AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL
development). 3.5 days Workshop/Mentor Program, limited
Contact: 678/513-6676, toncouch@mindspring.com POST PROPOSED DATES FOR UPCOMING CLASSES.
to 7 enrollees.
Huntsville Museum of Art 11/4-11/6/19, Sedona. Sedona Arts Center.
Contact: Kate@RobertBurridge.com
9/23-9/27/19, Huntsville. Brian Bomeisler, Drawing on the 5/4-5/6/20, Sedona. Sedona Arts Center.
11/2-11/4/20, Sedona. Sedona Arts Center. Tony Couch, AWS
Right Side of the Brain.
Contact: Jennifer, 928/282-3809 3/9-3/12/20, Cambria.
9/28-9/30/19, Huntsville. Brian Bomeisler, Intensive Painting/
3/30-4/1/20, Folsom.
Color based on the publication by Dr. Betty Edward, Color: A Eric Wiegardt, AWS-DF, NWS
Contact: 678/513-6676, toncouch@mindspring.com
course in mastering the art of mixing colors. 11/18-11/22/19, Scottsdale.
10/7-10/10/19, Huntsville. Tony Couch, Watercolor Painting. Wiegardt’s Plein Air Watercolor Workshop. Andy Evansen
11/7-11/10/19, Huntsville. Qiang Huang, Painting Dramatic Oil Contact: Scottsdale Artists’ School, Trudy Hays, 480/990-1422 September 2019, PAPA paint out/exhibition.
Landscapes. thays@scottsdaleartschool.org 10/18/19, NWS International Exhibition.
2/7-2/8/20, Huntsville. Leslie Wood, Art Journaling: Visual 10/20/19, Catalina Island. The Wild Side Exhibition.
Storytelling. CALIFORNIA Contact: aevansen@gmail.com or
3/19-3/22/20, Huntsville. Michael Story, Mastering Skies & Art In The Mountains www.EvansenArtStudio.com
Reflections in Oil, Acrylic or Pastel. 9/9-9/13/19, Santa Barbara. David Taylor, Moving Tom Lynch
5/14-5/17/20, Huntsville. Donna Bland, Figurative & Forward and Capturing the Moment. Watercolor - plein air, 11/4-11/7/19, San Diego.
Landscape Painting in Acrylic or Oil. intermediate to advanced. Contact: 630/851-2652
6/5-6/6/20, Huntsville. Linda Ellen Price, Spontaneity in Your Contact: Tracy Culbertson, 503/930-4572 Tomlynch@msn.com or www.TomLynch.com
Painting. info@artinthemountains.com or
8/20-8/22/20, Huntsville. David Kessler, Bigger, Faster Looser www.artinthemountains.com FLORIDA
Abstract Painting. Art In The Mountains
9/18-9/19/20, Huntsville. Gary Chapman – CHARCOAL:
Robert Burridge
8/14-8/17/19, Arroyo Grande. Robert Burridge Studio Figure 4/3-4/5/20 and 4/7-4/9/20, Miami. Alvaro Castagnet, The
Expressive Mark Making: A Painter’s Approach to Drawing. Pillars of Watercolor, plein air, watercolor, intermediate to
Contact: Laura E. Smith, Director of Education/Museum Painting Workshop/undraped model. Come paint with Bob in
advanced outdoor painters.
Academy, 256/535-6372 his Studio (includes individual mentor time, demonstrations
Contact: Tracy Culbertson, 503/930-4572
lsmith@hsvmuseum.org or hsvmuseum.org and personal theme development). 4-day Workshop/Mentor
info@artinthemountains.com or
Program, limited to 6 enrollees.
ARIZONA www.artinthemountains.com
8/22-8/25/19, Arroyo Grande. Robert Burridge Studio Mentor
Robert Burridge Workshop. Come paint with Bob in his Studio (includes Jaimie Cordero
10/25-10/27/19, Sedona. Loosen Up with Aquamedia Painting. individual mentor time, demonstrations and personal theme 9/9-9/11/19, Coral Gables. “Tropical Light & Shadow.” 3-Day
3-day Painting Workshop (Friday-Sunday). development). 3.5 days Workshop/Mentor Program, limited Workshop featuring dazzling tropical flora in Watercolor.
Sedona Arts Center. to 7 enrollees. Contact: Jaimie, 786/303-5293, WDJaimieC@aol.com
Contact: 888/954-4442 or 928/282-3809 9/5-9/8/19, Arroyo Grande. Robert Burridge Studio Mentor Register at: https://squareup.com/store/aquarelle-studios-inc
10/29-10/31/19, Sedona. Contemporary Abstract Figure. 3-day Workshop. Come paint with Bob in his Studio (includes Tom Lynch
Painting Workshop (Tuesday-Thursday). individual mentor time, demonstrations and personal theme 1/29-2/1/20, Palm Coast.
Sedona Arts Center. development). 3.5 days Workshop/Mentor Program, limited 4/2-4/5/20, Daytona Beach.
Contact: 888/954-4442 or 928/282-3809 to 7 enrollees. 4/6/20, Daytona Beach.
Karlyn’s Gallery 9/11-9/15/19, Arroyo Grande. Robert Burridge 5-Day 6/8-6/11/20 Tallahassee.
12/2-12/6/19, Tucson. Tanque Verde Ranch. Instructional Studio Workshop. 5-day Workshop in Bob’s Contact: 630/851-2652
Contact: MISA, 715/747-2054, misa@madelineschool.com Studio (Wednesday-Sunday). Tomlynch@msn.com or www.TomLynch.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, WDJaimieC@aol.com
Register at: https://squareup.com/store/aquarelle-studios-inc
Tomlynch@msn.com 630-851-2652 Tony Couch, AWS
www.tomlynch.com 4/20-4/23/20, St. Simons.
2019 WORKSHOPS Tom Lynch
August 13 – 19 Reno, NV 5/13-5/16/20, Gainesville.
September 9 – 13 Ingram, TX Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com
September 27 – 29 Spokane, WA
October 8 – 11 Waxahatchie, TX KANSAS
November 4 – 7 San Diego, CA Tom Lynch
November 14 – 17 Raleigh, NC 4/17-4/20/20, Greensburg.
Contact: 630/851-2652
November 22 – 24 Nashville, TN
2020 WORKSHOPS
January 14 – 17 Tucson, AZ MAINE
Jan. 29 – Feb. 1 Palm Coast, FL Tony van Hasselt, A.W.S.
9/16-9/20/19, Boothbay Harbor. Let Tony show you favorite
April 2 – 5 Daytona Beach, FL
spots in his own “backyard”. Coastal scenes, rickety docks, a
April 6 Daytona Beach, FL-PA farmers market, lighthouse and more. Demonstrations, lots of
April 17 – 20 Greensburg, KS individual painting time and assistance. Work in watercolor or
May 13 – 16 Gainesville, GA acrylics. Few openings remain.
June 8 – 11 Tallahassee, FL Contact: www.vanhasseltworkshops.com
June 22 – 26 Lac du Flambeau, WI MASSACHUSETTS
Casa de los Artistas, Inc. –
Available For Workshops In Your Area Masla Fine Art – ArtWorkshopVacations.com
Robert Masla Studios North
Contact: 413/625-8382, www.MaslaFineArt.com or
www.ArtWorkshopVacations.com
Join Masla this summer and fall for drawing and plein air
painting Mentoring Weekend 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.
Visit www.ArtAcademyLive.com 8/31-9/1/19, “Drawing and Painting the Landscape” Saturday
Your Online Source For & Sunday, (10am – 5pm), Plein Air and the Studio with
Watercolor, Acrylic or Oil, demos in all.
Art Instruction 24/7
MICHIGAN
Tony Couch, AWS
9/16-9/19/19, Frankfort.
Chris Unwin
Watercolor Workshop Weekly on Wednesdays.
West Bloomfield, MI 48322
6LQFH Contact: Chris Unwin, 248/624-4902
³3UHPLHU'HVWLQDWLRQ:RUNVKRSV´ ChrisUnwin@att.net or www.ChrisUnwin.net
:RUNVKRSV MINNESOTA
Andy Evansen
+HUPDQ3HNHO -XO\$XJ%HQG25 10/9-10/12/19, Workshop at Evansen Art Studio.
Contact: aevansen@gmail.com or
,DLQ6WHZDUW $XJXVW%HQG25 www.EvansenArtStudio.com
)HDOLQJ/LQ $XJXVW%HQG25 MONTANA
0LFKDHO5HDUGRQ$XJXVW%HQG25 Eric Wiegardt, AWS-DF, NWS
10/3-10/6/19, Kalispell. Wiegardt’s Painterly Watercolors.
'DYLG7D\ORU 6HSW6R&$ Contact: Montana Watercolor Society, Jean Hand Triol,
.DUO\Q+ROPDQ 2FW1RY7$&UXLVH 520/709-7709, jeantriol@smooshface.com
NEVADA
:RUNVKRSV Tom Lynch
0DU\:K\WH 0DUFK,WDO\ 8/13-8/19/19, Reno.
Contact: 630/851-2652
$OYDUR&DVWDJQHW$SULO 0LDPL)/ Tomlynch@msn.com or www.TomLynch.com
ROBERT BURRIDGE .DUO\Q+ROPDQ $SULO$VLD&UXLVH NEW MEXICO
+HUPDQ3HNHO -XQH6DQWD%DUEDUD Steve Griggs
• Burridge Studio App +HUPDQ3HNHO -XQH%HQG25 9/30-10/2/19, Santa Fe. Art Workshops of Santa Fe.
Contact: Miriam Joseph, 505/890-5000
• Free Online Newsletter 'DYLG/REHQEHUJ-XQ-XO%HQG25 miriamjoseph@josephhomes.com or

https://artworkshopsofsantafe.com/steve-griggs
$PDQGD+\DWW -XO\%HQG25
NEW YORK
• Free Weekly BobBlast )HDOLQJ/LQ -XO\%HQG25 Hudson River Valley Art Workshops
0DU\:K\WH -XO\%HQG25 9/1-9/7/19, Retreat Week.
• Current Workshop Schedule /L]:DONHU -XO\ %HQG25 9/8-9/14/19, Margaret Dyer.
9/15-9/21/19, David Taylor.
-RDQ)XOOHUWRQ -XO\%HQG25
• Workshops in Bob's Studio .DUO\Q+ROPDQ $XJXVW%HQG25
9/22-9/28/19, John MacDonald.
9/29-10/5/19, Skip Lawrence.
10/6-10/12/19, Lisa Pressman.
.DWKOHHQ&RQRYHU$XJXVW%HQG25 3/15-3/21/20, Kimberly Santini.
'DYLG7D\ORU 6HSW 25&RDVW 3/29-4/4/20, Margaret Evans.
5/3-5/9/20, Robert Burridge.
5/17-5/23/20, Kellee Wynne Conrad.
5/27-5/31/20, Patti Mollica.
6/7-6/13/20, Kim Johnson-Nechtman.
6/14-6/20/20, Joel Popadics.
RobertBurridge.com LQIR#DUWLQWKHPRXQWDLQVFRP 6/21-6/27/20, Seth Haverkamp.
6/27-7/1/20, Desmond O’Hagan.
ZZZDUWLQWKHPRXQWDLQVFRP 7/12-7/18/20, David Smith.

7/19-7/25/20, David Dunlop.
8/16-8/22/20, Seth Apter.
8/30-9/5/20, Margaret Dyer.
9/6-9/12/20, Retreat Week.
9/13-9/19/20, Elizabeth St Hilaire.
Contact: 888/665-0044
info@artworkshops.com or www.artworkshops.com
NORTH CAROLINA
John C. Campbell Folk School
8/16-8/18/19, Virginia Urani, Get Your Feet Wet With
Watercolor. $354.
8/18-8/24/19, Gay Bryant, Watercolor II—Improving Your
Painting Techniques. $630.
8/25-8/31/19, Billie Shelburn, Dynamic Highland Landscapes
(Scottish Heritage Week). $630.
9/6-9/8/19, Redenta Soprano, Illustrating Botanicals in
Watercolor Pencil. $354.
9/15-9/21/19, John Mac Kah, Oil in Plein Air: The Painter’s Craft.
$630.
9/22-9/28/19, Louise Farley, Painting Outside the Lines. $630.
9/29-10/4/19, Annie Pais, Composing Dynamic Watercolors.
$564.
10/6-10/12/19, Mary Jane Volkmann, Plein Air Painting in Fall.
$630.
10/25-10/27/19, Marcy Chapman, Sumi-E Ink Painting. $354.
10/27-11/2/19, Robin Popp, Oil Painting – Landscapes without
Fear. $630.
11/10-11/16/19, Margaret Scanlan, Watercolor Painting for All.
$630.
11/17-11/22/19, Carolyn Molder, Appalachian Winter in Pastel.
$564.
11/22-11/24/19, Billie Shelburn, Watercolor – Fast, Loose Ink &
Wash. $354.
12/4-12/7/19, Alan Young, Painting in Dry-brush Watercolor.
$424.
Contact: John C. Campbell Folk School
Brasstown, NC 800-FOLK-SCH or www.folkschool.org
Kanuga Watermedia Workshops
4/18-4/24/20, Hendersonville. Held at the Kanuga
Conference Center in the Blue Ridge Mountains of North
Carolina. We offer 5 full days of instruction by 11 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. Each student selects one
instructor for the entire week. New this year Open Studio for
those who wish to paint on their own. Meals and lodging are
included. (Commuter option available).
Contact: 615/202-0281, KanugaWW@gmail.com or
kanugawatermediaworkshops.com
Tom Lynch
Workshop DVDs
11/14-11/17/19, Raleigh.
Contact: 630/851-2652
Jan Sitts Complete 4 Day
11/11-11/14/20, Matthews. Award-Winning Artist Workshop.
Contact: Shirley Harris, 704/607-6046, 4shirleyart@gmail.com
Watercolor Workshops
OREGON
Art In The Mountains
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. Fealing Lin, Portrait and Figure in
Watercolor. Watercolor - studio. All levels welcome.
8/26-8/29/19, Bend. Michael Reardon, Watercolor
Techniques. Watercolor - studio. All levels welcome - some
experience helpful.
www.artinthemountains.com
TENNESSEE
Tom Lynch
11/22-11/24/19, Nashville.
Contact: 630/851-2652
TEXAS
Tom Lynch
9/9-9/13/19, Ingram.
10/8-10/11/19, Waxahatchie.
Contact: 630/851-2652
Jan Sitts
10/9-10/12/19, Granbury. Granbury Art Association.
Contact: Diana Littlejohn, 817/578-1842
5/25-5/28/20, Flowermound. Studio Art House.
Contact: Anita Robbins, 972/207-1275
The Runaway, Bev Jozwiak, AWS, NWS
UTAH See Bev Jozwiak’s Video Clips
Tony Couch, AWS and Video Clips of these artists
11/4-11/7/19, St. George.
Contact: 678/513-6676, toncouch@mindspring.com Chris Unwin, NWS
VERMONT Nita Engle, AWS
Eric Wiegardt, AWS-DF, NWS Alexis Lavine, NWS
10/21-10/24/19, Landgrove. Wiegardt’s Painterly Watercolors.
Contact: The Landgrove Inn, Tom Checchia, 802/824-6673
vtinn@sover.net or www.landgroveinn.com
WWW. ChrisUnwin.NET
WASHINGTON
Steve Griggs WATERCOLOR WORKSHOPS
Tom Lynch
9/27-9/29/19, Spokane.
Watercolor Workshops Contact: 630/851-2652
Jan Sitts
9/5-9/8/19, Coupeville. Pacific Northwest Art School.
Contact: Lisa Bernhardt, 360/678-3396
WEST VIRGINIA
Jaimie Cordero
11/8-11/10/19, Hedgesville. “Fall Colors in Watercolor.”
Celebrate the rich tapestry of Fall Colors in this West
Virginia workshop. Includes Color Layering, Tips for Great
Photographs, and Plein Air Sketching.
Frankfort MI, Sept 16-19 Cambria CA, March 9-12, 2020 Contact: Jaimie, 786/303-5293, WDJaimieC@aol.com
Huntsville AL, Oct 7-10 Folsom CA, March 30-April 1 Register at: https://squareup.com/store/aquarelle-studios-inc
3T 'EORGE UT, Nov 4-7 St. Simons GA, April 20-23 10/7-10/10/21, Morgantown. “Luminescent Light & Shadow in
Watercolors.” 4-Day Workshop. Create dazzling watercolors,

learn the secrets of color combining, and preserve the light
Learn at home Books and DVDs with expressive translucent shadows.
(678) 513-6676 I www.tonycouch.com Contact: Byron Witt, 304/291-5900, bwitt26@comcast.net
WISCONSIN
Art Workshops of Santa Fe, Santa Fe, NM - Andy Evansen
September 30 - October 2, 2019 9/27-9/29/19, Madison. Workshop.
The Watermill - Tuscany, Italy - May 2 - 9, 2020 Contact: aevansen@gmail.com or
Alpha Painting Holidays - Wells Somerset, England -
ADVERTISER’S INDEX www.EvansenArtStudio.com
May 18 - 21, 2020 Karlyn’s Gallery
8/6-8/9/19, Washburn. Karlyn’s Gallery. $395.
Andy Evansen............................................... 67 8/20-8/23/19, Washburn. Karlyn’s Gallery. $395.
Available for a workshop in your area: 10/8-10/11/19, Washburn. Karlyn’s Gallery. $395.
303-941-9246 Aquarelle Studios And Galleries................ 68 Contact: 715/373-2922, orders@karlynholman.com
steve@stevegriggswatercolor.com Tom Lynch
https://stevegriggswatercolor.com Art in the Mountains ................................... 68 6/22-6/26/20, Lac du Flambeau.
Contact: 630/851-2652
Blick Art Materials....................................... BC
INTERNATIONAL
Canson........................................................ IBC
BELIZE
Creative Art Workshops..............................69 Eric Wiegardt, AWS-DF, NWS
1/18-1/26/20, Caye Caulker. Watercolor Plein Air Workshop.
Contact: Wiegardt Studio Gallery, 360/665-5976
Crow Hill Gallery ..........................................70 watercolors@ericwiegardt.com
CANADA
F+W........................................................ 5, 8, 10 Robert Burridge
9/30-10/4/19, Vancouver Island, British Columbia. Loosen
General Pencil .............................................. 10 Up with Aquamedia Painting. 5-day Painting Workshop
(Monday-Friday). Vancouver Island Art Workshops.
Contact: Mary, 250/714-8080
Hudson River Valley......................................71
Weeklong classes in painting, info@vancouverislandartworkshops.com
drawing, mixed media and more. Huntsville Museum Of Art...........................70 CHINA

Andy Evansen
JOHN C. CAMPBELL FOLK SCHOOL Jan Sitts ..........................................................71
11/21-11/27/19, Shanghai. Workshop.
Contact: aevansen@gmail.com or
folkschool.org 1-800-FOLK-SCH www.EvansenArtStudio.com
BRASSTOWN NORTH CAROLINA Jerry’s Artarama ............................................9 ENGLAND
Steve Griggs
John C. Campbell Folk School....................70 5/18-5/21/20, Wells, Somerset. Alpha Painting Holidays.
Contact: Matt Clark, +44 (0) 1934 733877
Kanuga .........................................................69 joinus@alphapaintingholidays.com or
Jeanne Carbonetti http://www.alphapaintingholidays.com
Karlyn’s Gallery ............................................69 HOLLAND

Casa de los Artistas, Inc. – Masla Fine Art
Expanded Website Legion Paper .............................................. IFC Robert Masla Studios South
Contact: 413/625-8382
Featuring Sales Gallery Masla Fine Art ...............................................71
www.ArtWorkshopVacations.com or www.MaslaFineArt.com
Join Casa Founder/Director, Artist Robert Masla, in
conjunction with the Springfield Museum of Fine Arts and
for Watercolor Paintings Mid-Southern Watercolorists......................71
Royal Talens, (manufacturers of Rembrandt and Van Gogh
paints) on a sketching and painting tour through Holland
Store for Niagara Frontier Watercolor Society .........71
on the barge Fiep. Only a limited number of 2 bedroom/
private bath cabins are still available on this all inclusive
unique artist lead tour. Ports include Amsterdam, Haarlem,
Books, DVDs & Prints Robert Burridge Studio .............................. 68
Delft, Leiden and Gouda. Among the many attractions; we
will be visiting the Van Gogh and Rijk & Frans Hals Museums,
the famous Keukenhof Gardens, a tour of the Royal Talens
www.crowhillgallery.com Savoir Faire.....................................................3 factory, sketching windmills and painting the canals from
our boat, as well as painting the tulip fields in full bloom! Lots
802-875-3763 of painting demos, art discussions and personal instruction
Stauer..............................................................11 and feedback.
Contact: Jeane Fontaine at The Springfield Museums Travel
Steve Griggs..................................................70 Program to register: 413/314-6482
ITALY
Tom Lynch.................................................... 68 Art In The Mountains
3/21-3/28/20, Sorrento. Mary Whyte, Portrait, Figure and
Landscape, studio and plein air watercolor, all levels welcome.
Tony Couch...................................................70 Contact: Tracy Culbertson, 503/930-4572
Master Artist Workshops

Tony van Hasselt...........................................71 www.artinthemountains.com
Steve Griggs
Wiegardt Gallery ..........................................71 5/2-5/9/20, Tuscany. The Watermill at Posara.
Huntsville, AL | 256.535. | hsvmuseum.org Contact: Lois Brecken, +44 20 7193 6246
info@watermill.net or https://thewatermill.net

Jan Sitts
MEXICO
Casa de los Artistas, Inc. – Masla Fine Art
Robert Masla Studios South
Contact: 413/625-8382
www.ArtWorkshopVacations.com or www.MaslaFineArt.com
A Unique Tropical Paintcation with the Best Instruction in the
Best Location. All inclusive artists retreats - tropical oceanside
paradise Robert Burridge, Frank Eber, Paul Jackson, Tony van
Mixed Media
Hasselt, John MacDonald, Robert Masla, Jim McVicker, Dave
Santillanes, Randall Sexton, and Lian Quan Zhen. Serene
Workshops
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…
TONY VAN HASSELT

1/4-1/11/20, Robert Masla, Richard Masla and Guests, Painting, A
Yoga and Dance in paradise with Casa Director/Co-founder. W
S
1/11-1/18/20, Lian Quan Zhen, Watercolor Painting Color
Plein Air Watercolor Workshops
Blending and Pouring – Plein Air and Studio.
1/18-1/25/20, Paul Jackson, “Luminosity on the Playa”,
Watercolor Plein Air and Studio.
BOOKS It’s not too late - so join the fun! Texture, Color Feeling
1/25-2/1/20 & 2/1-2/8/20, Robert Burridge, “Abstract Acrylic & AND Sept: My Boothbay Harbor. ME Book available
Collage Workshops in Mexico”, choose 1 or 2 weeks! DVD’S Feb: Escapaint in Sunny Mexico
2/8-2/15/20, Dave Santillanes, Capturing the Atmosphere -
Painting in Plein Air and the Studio. vanhasseltworkshops.com jan@jansitts.com  www.jansitts.com
2/15-2/22/20, Frank Eber, Bring your painting skill to a higher
level, painting “Atmospheric Watercolors”.
2/22-2/29/20, Tony van Hasselt, Tropical Escapaint & Creating
an Artists Watercolor Travel Sketchbook.
2/29-3/7/20, John MacDonald, Drawing and painting in plein
Air and the Studio.
3/7-3/14/20, Jim McVicker, Painting Paradise in Plein Air and
the Studio.
3/14-3/21/20, Randal Sexton, Expressive Brushwork En Plein
Air, Plein Air and the Studio.
Tony van Hasselt, A.W.S.
2/20-2/29/20, Boca de Tomatlan. Escape the cold
to join this Tropical Escapaint in watercolor and
sketchbook journaling. Be inspired in this safe and
peaceful little fishing village south of Puerto Vallarta.
Excursions to nearby sites and the Bay of Banderas.
All inclusive, tuition, meals and accommodations.
Contact: www.vanhasseltworkshops.com
SPAIN
Karlyn’s Gallery
9/12-9/28/19, La Finca Del Nino. Karlyn and Bonnie Broitzman.
A full two weeks of painting and sharing great food and
friendship.
Contact: 715/373-2922, orders@karlynholman.com
Eric Wiegardt, AWS-DF, NWS
9/14-9/28/19, Barcelona & Costa Brava.
Watercolor Plein Air Workshop.
Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com
CRUISE ASIA HUDSON RIVER VALLEY
4/15-5/1/20, Asia. Singapore, China, Vietnam, and Japan, ART WORKSHOPS
Watercolor: Fun and Free, studio, painting days are ‘at sea’
days only. All levels welcome. Learning, Laughter,
Contact: Tracy Culbertson, 503/930-4572 and Friendships in an
www.artinthemountains.com Inspiring, & Inviting
CRUISE TRANSATLANTIC Environment
10/20-11/8/19, Europe. Karlyn Holman, 9 Countries from
Denmark to New Orleans. Painting days are ‘at sea’ days only. Call Toll-Free 1-888-665-0044
info@artinthemountains.com or Retreat Week Sep 1-7, 2019
www.artinthemountains.com
Margaret Dyer Sep 8-14, 2019
CRUISE
Karlyn’s Gallery
David Taylor Sep 15-21, 2019
10/20-11/8/19, Copenhagen, Denmark To New Orleans, USA. John MacDonald Sep 22-28, 2019
Trans-atlantic cruise on Norwegian Star Cruise. Skip Lawrence Sep 29-Oct 5, 2019
Contact: Art in the Mountains, 503/930-4572
info@artinthemountains.com Lisa Pressman Oct 6-12, 2019
Kimberly Santini Mar 15-21, 2020
CALL FOR ENTRIES Margaret Evans Mar 29-Apr 4, 2020
Robert Burridge May 3-9, 2020
DEADLINE: AUGUST 24, 2019 Kellee Wynne Conrad May 17-23, 2020
Niagara Frontier Watercolor Society Fall 2019 14th
International Exhibition of Transparent Watercolor. Patti Mollica May 27-31, 2020
October 13 - November 8, 2019 at the Kenan Center House Kim Johnson-Nechtman Jun 7-13, 2020
Gallery in Lockport, NY. Juror and judge: Iain Stewart. Awards:
$6,000 and merchandise. Entries accepted online beginning Joel Popadics Jun 14-20, 2020
July 8, 2019. For a prospectus, entry procedure, visit our Seth Haverkamp Jun 21-27, 2020
website www.nfws.org. Questions? Contact Carol Siracuse at
716/867-9044 or csir@me.com. Submission deadline: Midnight,
Desmond O’Hagan Jun 27-Jul 1, 2020
August 24, 2019. David Smith Jul 12-18, 2020
DEADLINE: NOVEMBER 8, 2019 David Dunlop Jul 19-25, 2020
Mid-Southern Watercolorists’ 50th Annual Juried Exhibition Seth Apter Aug 16-22, 2020
March 13 - June 27, 2020 at the Galleries at Library Square,
Little Rock, Arkansas. Anticipated awards totaling more Margaret Dyer Aug 30-Sep 5, 2020
than $5,000. For prospectus and entry details visit the Retreat Week Sep 6-12, 2020
Mid-Southern Watercolorists’ website or send a SASE to
Exhibition Chair, c/o Mid-Southern Watercolorists, Elizabeth St Hilaire Sep 13-19, 2020
P.O. Box 55762, Little Rock, AR 72215.
Website: www.midsouthernwatercolorists.com artworkshops.com
Facebook: www.facebook.com/MidSouthernWatercolorists
Open Book
Color Testing
The watercolor art of Jean Mackay (jeanmackayart.com) reflects a sense YOUR TURN!
of wonder in the natural world. “My sketchbook is central to my process,” Use your sketchbook to
she says. “I carry it with me frequently to observe, record and appreciate do some color trials and
what’s happening around me. One day it may be birds, the next it’s tag us with your
roadside wildflowers, and the next it’s mushrooms.” Because Mackay favorite page.
carries a limited palette of watercolors for field sketching, she likes to @ArtistsNetwork on
know exactly how the colors perform. “This painting of a cardinal Instagram:
provided an opportunity to experiment with warm and cool reds,” she #everywatercolor_color
says, “before deciding which ones would become part of my paint box.”

Enhance your work of art with
Saunders Waterford
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You Have The Vision: Blick Has The Supplies

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YOU HAVE THE VISION

Kathy Hiner, kathyhinerart.com

BLICK HAS THE SUPPLIES

Shop in stores and online for an unmatched selection of art materials.

THE WEATHER REPORT

64 BRIGHT IDEAS ON THE COVER

Evening Shadows of Prague

Get Social (detail; watercolor on paper, 21x14)

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Expressive Ink: Paintings Control by Zeng Shanqing

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In this exhibition, Yang Yanping and Zeng Shanqing’s first

COLLECTION OF ANN AND TOM HOAGLIN

books, magazines, Columbus, Ohio-born artist Alice Schille is celebrated this

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Stauer ® 14101 Southcross Drive W., Ste 155, Dept. HEN174-01,

The Long View It appears that

W ith the end of the Napo-

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Two Friends, Two Paths

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Dori Beth: My family moved to

Laurie: Between visits, we also share

Dori Beth: We’ve learned so much

Laurie: Every artist should be so lucky

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Try this at home

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Following the Allure

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Whitney Memorial Award from the Hudson Valley

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is surrounded by farmland and forest.

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I’ve been teaching

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Meet the Artist

Boats at the Center for Wooden Boats—Seattle

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Simplifying the House

Include More Subtleties in the Color Version

• Free Online Newsletter 'DYLG/REHQEHUJ-XQ-XO%HQG25 miriamjoseph@josephhomes.com or