WaterColor Artist 10.2018 PDF

The BEST Painting Advice (Right When You Need It)
ARTISTSNETWORK.COM
Art
Make
Happen
16 Prompts
to Inspire
Everyday
Sketching
+
10 Dependable Ways
to Enthuse Your Muse
25th
Anniversary
1993-2018
WATERCOLOR OUT WEST

Putting the Life
in Wildlife Painting OCTOBER 2018
OCTOBER 2018
25 th
Anniversary
1993-2018
Features
18
STOKING THE
CREATIVE FIRE
Feeling stuck? Five artists
share foolproof tips and go-to
exercises for breaking through
an artistic block.
COMPILED BY ANNE HEVENER
22
PAST SPLENDORS
Objects from a bygone era
take on new relevance in
Peter Jablokow’s detailed
architectural-style paintings.
BY JOHN A. PARKS
32
A DAY IN THE LIFE
Tag along with a well-known
artist for a creative visit in
the mountains. PLUS: Explore
his homestead via paintings.
BY STEPHEN QUILLER
22
36
BORN FREE
44
JUST PAINT
48
ABSTRACT ARTISTRY
An intentional less-is-more Follow these four creative Mary Ann Beckwith expresses
approach to edges and color concepts to catapult your her worldview through her
brings Kathryn Mapes painting practice from meh bold use of watermedia
Turner’s animals to life. to marvelous. textures and techniques.
BY AMY LEIBROCK BY THOMAS W SCHALLER BY LOUISE B. HAFESH
ArtistsNetwork.com 1
OCTOBER 2018
Columns
4 EDITOR’S NOTE
Try out-of-the-studio ideas
for in-the-studio success.
6 HAPPENINGS
A trio of artists achieves
career milestones.
BY MCKENZIE GRAHAM
10 ANATOMY OF
A PAINTING
Color and composition
highlight a Venetian scene.
BY JERRY N. WEISS
12 MASTER CLASS
Absorb the advantages
of waterproof paper.
BY MARK MEHAFFEY
56 BRIGHT IDEAS
Embrace your life more fully
by committing to a daily
sketching practice powered
by practical prompts.
BY LIZ STEEL
60 WATERCOLOR 12
ESSENTIALS
Learn the secret to
66
creating successful
watercolor layers.
BY PETER CRONIN ON THE COVER
The BEST Painting Advice
66 BURNING QUESTION (Right When You Need It) 44
Check out five bucket-list
inspiration venues. Make Art Happen:
COMPILED BY ANNE HEVENER 10 Dependable Ways
to Enthuse Your Muse 18
72 OPEN BOOK
Use your sketchbook to Watercolor Out West:
record animal behavior, Putting the Life
both domestic and wild. in Wildlife Painting 36
BY DAVID BELLAMY 16 Prompts to Inspire
Everyday Sketching 56
Get Social Apple Pie (detail; watercolor on paper,

29x21) by Kris Parins
@ARTISTSNETWORK
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2 Watercolor artist | OCTOBER 2018

Water Media en Plein Air
with Stephen Quiller
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8 Chapters of Finished Paintings • Different Subjects & Atmospheric
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Polperro, a Soft Day by Stephen Quiller

Editor’s Note Watercolor
ARTISTSNETWORK.COM
c reative block. It can happen to

anyone. Whether an eager
beginner or a seasoned profes-
sional, whether a painter or a poet,
there are moments when the creative
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ART DIRECTOR Amy Petriello
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he idea is to do something that still feels creatively stimu-
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you’ll ind the perfect kick-start within these pages. WA

Spend hours
falling in
love with
beautiful art
#everywatercolor
Happenings
The Chinquapin Tree

(acrylic on canvas, 4x6 ft.)
/ MAKING A SPLASH /
Naomi Brotherton
By Betsy Dillard Stroud
Dallas-based artist Naomi Brotherton resulting excitement generated by its

celebrated her 98th birthday this past success have made the artist want to
April with a painterly coup, having continue exploring new avenues of
completed a huge commissioned expression. Although the 200-year-old
work—and a irst acrylic painting on tree in the painting was lost in a storm,
canvas for the artist. its magniicence is preserved immor-
For 60 years, Brotherton has exem- tally through the artist’s work.
pliied the quintessential artist and With so much exploration and curi-
teacher. Even today, she continues to osity in her spirit, Brotherton handles
teach one class per month and never failing eyesight in good humor. Her Her strength and eforts have
ceases to be excited about making art. message about the disease is one of been rewarded. his past year, the
Her passion and drive to paint enable hope. Her number one tip? “Don’t Southwestern Watercolor Society
her to continue, despite an advanced give up.” She explains that her periph- (of which Brotherton was president
case of macular degeneration. eral vision is best, so she looks from 1967-68) designated its Best of
Brotherton’s acrylic painting of a peripherally at her subject to memo- Show prize as the Naomi Brotherton
chinquapin tree (shown above) and the rize it before she starts to paint. Award in perpetuity.

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Happenings
/ WATERCOLOR WONDERS /
Lifetime Achievement
in Watercolor
THE WATERCOLOR USA HONOR SOCIETY PRESENTS
DEAN MITCHELL AND DON LAKE WITH LIFETIME
ACHIEVEMENT AWARDS.
In an interview with Watercolor USA Honor Society newsletter

editor, Christine Buth-Furness, Dean Mitchell said, “We all sit
in solitary and relect on our lives at some point.” For Mitchell
and fellow artist Don Lake, it’s been a lifetime of accomplish-
ment in a medium known for its unruliness and beauty.
Mitchell’s childhood in the South during the civil rights
movement, and his close relationship with his hard-working
grandmother, kindled a ire in him to paint the inherent dig-
nity in his subjects. His portraits are famous for their subtle
power and simpliied palettes, so as not to detract from the
subject. Likewise, his landscapes demonstrate both remarkable
craftsmanship and emotional power.
Ironically, for realist painter Lake, his beginnings in art were
inluenced by a museum visit to see abstract expressionism.
Art sts OVER 60 Magazine

ART COMPETITION
WE’RE LOOKING FOR
ARTISTS AGE 60+ working in
two dimensions in all art media.
Submit your work and you could
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David Story | Harvest Time | oil 16x48

After years working as a pro-
fessor and raising a family,
Lake focused again on his
own work, and his interest
moved toward a representa-
tional approach. “Often
people don’t know that to
make something look real, it’s
an efort in editing,” he told
Buth-Furness. “It’s what you
leave out, what you invent,
how you move pieces around
and how you treat it. If it isn’t
challenging anymore, you’re
not doing it right.” WA
LEFT
‘57 Airstream Caravanner
(watercolor on paper, 20½x28)
by Don Lake
OPPOSITE
Highrise (watercolor on paper,
15x11) by Dean Mitchell
Anatomy of a Painting
Piazza di Repeated and varied
San Marco shapes help to unify the

painting. The triangular
forms of the three flags are
echoed by distant sails.
Arched windows and
MAURICE BRAZIL PRENDERGAST gives a popular building details connect the
campinale, or bell tower,
Venice landmark a progressive color and and adjacent architecture.
composition treatment.
By Jerry N. Weiss
p
Other unifying motifs are
ainting with a sure and of his ingenuity in inding a fresh value and temperature.
Shadow areas are generally
delicate touch, Maurice Brazil angle on a popular subject. bluish, and sunlit planes
Prendergast (1858-1924) In 1904, Prendergast joined he are a luminous pale yellow.
was one of the best watercolor Eight, a group of artists best known Perhaps Prendergast
artists in America. Born in St. John’s, for celebrating urban street life in the painted the chromatic red
Newfoundland, Prendergast grew up early 20th century. In that context, he patches on the flags last;
and spent much of his life in Boston. was an anomaly; although he painted they’re the serendipitous
touches that make the
After working as a sign painter, scenes illed with human bustle, the painting memorable.
he moved to Paris in 1891 to study commotion was that of middle- and
art. While in France, he became upper-class leisure, seen for its decora-
acquainted with work by the leading tive qualities. He was the oldest
avant-garde artists of the period, member of he Eight, but he was also
among them Whistler, Vuillard, the most modern. Prendergast's
Bonnard and Cézanne. Prendergast designs are composed of shimmering
was one of the irst American artists lat patterns, his igures abstracted to
to appreciate Cézanne’s signiicance. the point that they nearly dissolve in
In 1895, Prendergast returned to light. When he died in 1924, his work
Boston, and spent the next few years was deemed too progressive to merit
Prendergast’s
drawing and painting in the city’s
public spaces. In 1898, he traveled
a retrospective at he Metropolitan designs are
Museum of Art—where today, several
to Venice, where he painted Piazza of his works are on view, including composed of
di San Marco.
he artist’s stay in Venice between
Piazza di San Marco. WA
shimmering flat
1898 and 1899 yielded some of his Jerry N. Weiss is a contributing writer patterns, his
inest watercolors. Venice was a for ine art magazines. He teaches at the
popular site for visiting artists in Art Students League of New York. figures abstracted
the late 1800s, many of whom were
attracted to recognizable landmarks
to the point that
such as the Piazza San Marco. he Piazza di San Marco they nearly
artist painted multiple views of the (ca. 1898-99; watercolor and
site, but he was more interested graphite on off-white wove dissolve in light.
paper, 1611⁄16x15⅜) by Maurice
in composition and color than in the
Brazil Prendergast
subject’s obvious tourist appeal.
Piazza di San Marco is a great example

Prendergast appears to have painted the Piazza San Marco from the
top of the Procuratie Vecchie, looking south across the piazza.
His design crops familiar landmarks: The base of St Mark’s Campinale
(the bell tower) is almost unrecognizable—and he omits altogether
the splendid and ornate Basilica, just out of view at the left.
GIFT OF ESTATE OF MRS. EDWARD ROBINSON, 1952/THE METROPOLITAN MUSEUM OF ART
The composition is constructed upon a The flat, grid-like design is broken by

series of rectangles: the ground plane the diagonal recession of flagpoles. The
of the piazza; the shadowed blocks of colorful flags and spots of untouched
the bell tower and Procuratie Nuove; white paper that suggest sunlit figures
and the lagoon and sky beyond. further animate the painting.
Master Class
A Pick of Papers LEGION

MASTER CLASS
Every paper has its advantages. What you choose S P O N S O R E D BY
depends on what you want to do and how you want

to work. Here’s an introduction to one of the more
unique options for watercolor painters—YUPO®.
By Mark Mehaffey
i irst discovered YUPO paper about

20 years ago when it went by the
name Kimdura. Since then, many
watermedia artists have had a chance
to try it. If you haven’t, here’s what
can be incorporated into your work.
It’s still possible to create a perfectly
smooth passage by letting a puddle
dry with no manipulation. In addi-
tion, anything absorbent pressed
Materials
PAPER
• 26x20-inch piece of medium-
weight YUPO
you need to know about this slick, into the wet paint will leave that
waterproof, somewhat challenging impression or mark in the paint ilm,
but oh-so-fun surface. creating more textural possibilities.
Yes, there are some challenges to
WHAT MAKES IT SPECIAL? the surface, but these can be tempered
YUPO is a synthetic paper made of with practice. If your painting practice
polypropylene—plastic. It’s 100 involves glazing—layering with many
percent waterproof, very strong, washes—to achieve the desired color
tear-resistant and recyclable. and value, you may be frustrated with
here are two main advantages to YUPO at irst. Because the paint sits
the surface. he irst is removability. on top, any dry layer will be disturbed PAINT
Transparent watercolor can be readily with the addition of a new layer. • Cheap Joe’s American Journey
removed at any time in the painting herefore, with YUPO, it’s better to Artists’ watercolors; Holbein
process. his makes altering your work achieve the desired color and value in Artists’ Watercolors
or ixing mistakes relatively easy. the irst pass. Having said that, you BRUSHES
Even a dry paint ilm can be re-wetted can completely change a passage at • No. 12 Kolinsky sable round
and removed, or altered. Also, you can any time. brush
preserve the white of the paper as you I do a lot of my non-objective or MISCELLANEOUS
work, of course, but it isn’t a primary abstract work on YUPO, but I’ve also • Spray bottle of water, pencil
concern when working on YUPO, used it for my representational work
because—if you lose a light or white as well, as in the following demon-
shape—it’s easy to lift out color with stration of a landscape painting
a thirsty brush or paper towel. using transparent watercolor.
he second attribute is the ability
to add texture. Because all the paint Mark Mehafey (mehafeygallery.com)
and water sits up at the paper’s sur- is an award-winning artist and popular
face, gravity acts on the puddle of workshop instructor. He has made a
paint and water in unexpected ways. number of instructional art videos,
hese swirls, runs, drips and puddles including one about painting on YUPO.
will dry with wonderful textures that Visit artistsnetwork.com/store.

Value Sketch Step 1
When working on a representational piece, I almost I lightly draw the contour of large shapes on the paper. I know
always start with a small (3x4-inch) pencil sketch to it will be a guideline only for the first washes. Using Hansa
simplify shapes, find the focal area and assign values to yellow light, ultramarine blue and quinacridone rose, I paint a
shapes. This way, I can better concentrate on handling the flowing wash from the sky shape into the distant trees and on
water, paint and brush in the painting stage instead of down the road. Closer to the foreground, I warm up the color
worrying about where things go or how dark or light it is. by adding a mix of quinacridone rose and Hansa yellow.
Step 2 Step 3
Once the paint is completely dry, I use a mix of Hansa yellow, Using my No. 12 round brush, I add a darker wash of ultramarine
cobalt teal, ultramarine blue and quinacridone rose to add blue and quinacridone rose to the road shape. As I do, I paint the
the overhanging trees. While still wet, I quickly add a few negative space around the warmer color applied previously. I can
branches. To create an impression of leaves, I lightly spray the make the large shape darker by adding more paint or lighter by
wet wash. The droplets create textural interest. lifting with my brush as I paint. (Turn the page for the “finish.”)
Master Class
Finish
F h
To complete Close to Home (watercolor on YUPO, 26x20), I use a thirsty brush to lift the edges of the distant trees
to make them look a bit more like leaves. I also lift some of the paint from the light shapes where the sunlight filters
through the trees and hits the drier road. I then add the dark wash that defines the trees using a mix of indigo,
ultramarine blue and quinacridone rose. I use the tip of my brush to add branches and individual leaves on the edges
of the trees. I fight the urge to overdo details. Instead, I try to go with the flow, which is what YUPO offers. WA

CALL FOR ENTRIES
acrylicworks 7
Color & Light
Sacramento River #3, Timothy Mulligan Blue Moon, Marsha Zavez
Iris-Messenger of the Gods, Kitty Kelly
INSPIRE WITH COLOR AND LIGHT!

Celebrate your best acrylic artwork by entering it in
AcrylicWorks 7: Color & Light!
Along with a feature in the seventh edition of North
Light Books’ AcrylicWorks, your win could lead to
recognition from your peers and even potential clients.
A variety of subjects and styles are welcome, so
let your creative energy shine on the canvas and
enter today!
Emeralds, Pamela Edevold
Early-Bird Deadline
February 1, 2019
For more information and to enter, visit
artistsnetwork.com/art-competitions/acrylic-works
NORTH LIGHT BOOKS

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How to Look at and
Understand Great Art
Taught by Professor Sharon Latchaw Hirsh
ROSEMONT COLLEGE
LECTURE TITLES
E D TIME OF
IT 1. The Importance of First Impressions
FE
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2. Where Am I? Point of View and Focal Point
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3. Color—Description, Symbol, and More
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Line—Description and Expression
Space, Shape, Shade, and Shadow
R 7
off 6. Seeing the Big Picture—Composition
OR
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13. Sculpture—Salt Cellars to Monuments
14. Development of Painting—Tempera and Oils
15. Modern Painting—Acrylics and Assemblages
16. Subject Matters
17. Signs—Symbols, Icons, and Indexes in Art
18. Portraits—How Artists See Others
19. Self-Portraits—How Artists See Themselves
20. Landscapes—Art of the Great Outdoors
21. Putting It All Together
22. Early Renaissance—Humanism Emergent
23. Northern Renaissance—Devil in the Details
24. High Renaissance—Humanism Perfected
25. Mannerism and Baroque—Distortion and Drama
26. Going Baroque—North versus South
27. 18th-Century Reality and Decorative Rococo
28. Revolutions—Neoclassicism and Romanticism
29. From Realism to Impressionism
30. Postimpressionism—Form and Content
Re-Viewed
31. Expressionism—Empathy and Emotion
32. Cubism—An Experiment in Form
33. Abstraction/Modernism—New Visual Language
34. Dada Found Objects/Surreal Doodles
Discover How to Look 35.

36.
and Dreams
Postmodernism—Focus on the Viewer
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stoking the
creative
fire WHETHER IT’S A CREATIVE RUT OR FULL-
BLOWN BLOCK, ONE OF THE BIGGEST
CHALLENGES FOR ARTISTS CAN BE
SUSTAINING MOTIVATION AND KEEPING
THE CREATIVE ENGINE HUMMING. HERE,
FIVE ARTISTS SHARE PRACTICAL TIPS TO
JUMP-START IDEAS AND KINDLE INSPIRATION.
Compiled by Anne Hevener
/ KRIS PARINS /
WELCOME AN
OUTSIDE INFLUENCE
I ind there’s nothing quite like a get-together with
artist friends to cure creative doldrums. Getting
out of the studio to spend a few hours laughing,
sharing enthusiasm and new opportunities, and
giving and getting advice provides a break from
the myopia that can happen after too many days
without some kind of outside inluence.
My artist friends and I may share images of
our work in progress, or just talk. Receiving
encouragement feels wonderful, but it’s also
uplifting to be able to ofer that kind of boost to
a friend who’s feeling some insecurity about his
Kris Parins values her outings with artist friends as a way to produce or her work.
not only laughter but also new ideas and inspiration. Pictured from Whether it’s a lunch out, a brown-bag critique,
left to right: Karen Knutson, Anne Abgott, Parins and Roger Parent. a local art club meeting, or an artist’s reception,
I come back to my studio feeling refreshed, ener-
gized and ready to get back to work.

Just Get
Started
We all run into moments
when we just can’t figure
out what to paint. I’ve
found that a “quick-start
exercise” that simply
gets me painting can
trigger inspiration. Here
are five prompts that I’ve
put to work successfully
over the years:
From Gerald Brommer:

Paint a still life on
watercolor board using
only white gesso, cut or
torn pieces of a brown
paper bag, and black
gesso or black gouache.
From Milford Zornes:

Begin a painting in
black. Then, use the
first color in your palette,
mixed with black. Do
this until you use all your
paints, with black, in
one painting.
From Millard Sheets:

Do 20 paintings about
who you are, and don’t
be afraid to see the
changes that take place.
From me:
Paint an abstract (try it
in acrylic) about who
you are, adding one
brushstroke a day over
the course of a month.
/ TOM LYNCH / From Jean Auguste
Dominique Ingres to
AN EXERCISE IN Edgar Degas:
“Draw lines, young man,
BLACK AND WHITE many lines. From memory
or from nature—it is in this
If the standard remedies for beating painter’s block— way that you become a
visiting a gallery, museum or art fair—don’t help me, good artist.”
This sketch was done in — Betsy Dillard Stroud
I’ve found that a simple exercise of working only in a café in Mt. Lebanon,
black and white can jump-start my desire to paint. Penn., where I was
I keep it simple, using a Scratch & Wash pencil (by waiting for my food
General Pencil). he graphite dissolves quickly with a and inspiration. The
wet brush, so I’m still “painting,” but I’m forced to focus process energized my
on tone and contrast—to see the world around me in creative juices.
terms of shapes and tone, not just things. After exer-
cises like this, I ind that my subsequent paintings are
enhanced with better lights and darks. It helps.
/ CHRIS KRUPINKSI /
PAINT ALL THE TIME
More than 25 years ago, I decided that I
wanted to be a professional artist. I knew
I couldn’t make that happen by sketching
and painting only on the weekends. I under-
stood that I’d have to work hard, so I made a
commitment to paint for a minimum of two
hours every day—no matter what. And I did.
I even carved out time on holidays. When I
traveled, I’d pack a sketchbook and paints.
I had a goal, and I was driven.
I learned that working consistently not
only improved my painting, but also opened
up my mind to new ideas. Since starting a
“constant painting” regimen, never once have
I experienced artist’s block or a shortage of
ideas. As I’m painting, a new idea—usually
related to what I’m presently working on—
will begin to take shape. And that cycle just
keeps going.
Growth comes with a lot of work. Ideas
come from the time spent.
/ BETSY DILLARD STROUD /

KEEP AN OPEN MIND
One day as I dawdled about my painting table, which is
crammed with all kinds of “stuf,” I went to pieces—not
literally, but iguratively—as I considered what to paint.
I was ingering some colorful scraps of collage pieces and
thought, “I’ll do a collage. hat would be diferent.”
As I began to place the pieces of collage onto a sheet
of watercolor paper, however, my inner voice stopped
me and told me to do a watercolor painting of the col-
orful pieces instead. I placed
some of the pieces on the
paper, traced their shapes, then
took them of and painted
those particular shapes.
I cut up black paper into vari-
ous conigurations to balance
the color. he result? I Go to
Pieces was born.
Sometimes, just starting one
idea can lead you to another,
even b tt one. he
better h ttrick
i is to get started on some-
thing, but to be open to a change in direction.
Betsy Dillard Stroud’s painting, I Go to Pieces,

(watercolor on paper) originated with the intention
to make a collage, but she painted her collage
materials instead.

MEET THE
ARTISTS
Award-winning artist Kris Parins
(krisparins.com) maintains studios
in Wisconsin and Florida. Her work
has been featured in Watercolor
Artist and International Artist
magazines, and in the Splash book
series. Parins is a signature member
of AWS, NWS and TWSA. Her work is
included in many private and public
collections, including the Woodson
Art Museum.
Illinois artist Tom Lynch (tomlynch.

com) is an internationally known
watercolorist with more than 35
years of painting and teaching
experience. His work has been
exhibited widely, including a solo
show in Paris. Lynch is the author of
eight art instructional books and
five PBS television series. Videos of
his painting process can be viewed
on artacademylive.com.
Chris Krupinski (chriskrupinski.

com), of Hurricane, W.V., is a
Dolphin Fellow with the American
Watercolor Society (AWS), and a
signature member of the National
Watercolor Society (NWS), the
Rocky Mountain Watercolor Society,
and the Transparent Watercolor
Society of America (TSWA), among
others. Her work has earned a
number of awards in regional,
national and international shows.
/ LAURIE GOLDSTEIN-WARREN / Award-winning artist Betsy Dillard
Stroud (betsydillardstroud.com) is
A NEW TAKE ON A an AWS Dolphin Fellow, a signature
member of the NWS and the
FAMILIAR SUBJECT Southwestern Watercolor Society,
and a life member of the Arizona
Sometimes, when I’m facing a blank sheet of watercolor paper, I’ll decide Watercolor Society. She’s the author
to revisit a subject I’ve painted before, but choose a completely diferent of Painting From the Inside Out, The
method for painting it. If I originally worked with traditional tools, such Artist’s Muse and Watercolor Masters
and Legends, and has also created a
as paintbrushes, for example, I might repaint the subject using only a series of DVDs on intuitive painting.
mouth atomizer.
When I change the techniques, I’m not only changing my tools, but the Artist and workshop instructor
method of transition through the painting. I’ve found that doing this Laurie Goldstein-Warren
revitalizes my passion for the subject, and makes me think and see it in (warrenwatercolors.com), who’s
a whole new light. originally from New York, now lives
in West Virginia. She has been
painting in watermedia for nearly
Laurie Goldstein-Warren’s painting, Chinatown Shadows (watercolor on 20 years. Goldstein’s award-
paper, 30x22), is based on a photo she’d held onto for years. “I’d been winning work has been exhibited in
unsure how to make it an interesting painting with no people in the venues throughout the U.S., as well
scene,” she says. “Then, when I started using my mouth atomizer to as in Japan, Turkey, Greece,
create ‘brushless paintings,’ I saw how the blending of the multicolored Canada and China.
dots made by the atomizer could make it beautiful and unique.” WA
Past Splendors
PETER JABLOKOW BRINGS NEW LIFE TO THE
DILAPIDATED AND THE DISCARDED THROUGH
THE USE OF ARCHITECTURAL
UNDERPINNINGS AND LOOSE COLORS.
By John A. Parks
Calumet River Lift

Bridge (watercolor
on paper, 29x41)
P
eter Jablokow is drawn to the weathered, rusting relics of a Searching For Subjects
bygone industrial age. A long-abandoned steam engine lan- “When I started painting in 2010,
guishes in a ield, its cab a spectacular welter of peeling rust my family and I had just visited the
and laking paint. A huge dredging vessel tilts into the mud of Keweenaw Peninsula, within the
a lake, where it lies half sunk, its sagging cranes still sprout- Upper Peninsula of Michigan,” recalls
ing wires and cables. he shell of a stamp mill building stands the Illinois-based artist. Soon he
with its sides open to the weather, icicles hanging from the beams, its loor began to paint things he encountered
strewn with the detritus of an incomplete demolition. there. “here are great old mining
All of these scenes are rendered with a kind of hyper-clarity that’s achieved structures, some of which are now
with immaculate drawing, crisp edges and lawless perspective married with gone. It’s a beautiful, remote place
rich, varied color and a wealth of texture. Jablokow succeeds in creating a with historic old towns and mining
sense of extreme precision while bathing his subject in a vibrant, warm light relics—a combination I like. he
that suggests pleasure and attraction. We’re aware that he’s enamored with his Quincy mine in Hancock has a steam
unexpected subject matter. engine in a ield, so I started painting

RIGHT
Caboose Near My
House (watercolor
on paper, 22x30)
BELOW
St. Charles Airline
Bridge No. 2
(watercolor on
paper, 41x29)
steam engines, too. After the

engines, I painted train bridges in the
Chicago area, because they were
closer to home. I love the complicated,
Sourcing
weathered structures, but they’re lacy-
looking, not heavy. hese days, I look
for bridges with massive counter-
Inspiration
Jablokow’s move to full-time painting in 2010
weights or huge, solid pieces of steel.” was precipitated by the decline in demand for
Whether it’s bridges or mine equip- handcrafted architectural illustration that
ment, Jablokow seems to relish the occurred with the advent of lower-cost
heroic scale of these structures. “I like computer rendering. He began taking classes
the size of them, how they loom over with Peggy Macnamara at North Shore Art
my head, with exciting textures and League, in Chicago, and continues to take
classes with Alain Gavin, in Evanston, Ill. “I need
chaotic shapes,” he says. “I love the outside critiques as I work,” he says, “but I don’t
mess of shadows and shapes—and know many people to ask for that. Alain is a
the fact that there’s still an underly- good source.”
ing structure there.” As for inspiration, Jablokow names a
While Jablokow’s sense of structure variety of contemporary and historic artists.
is strong, there’s also a romance in his “Gottfried Saltzmann has done some
images. “here’s certainly a nostalgia impressive, simple compositions with really
wet washes and some great aerial city shots
to them, of all the things people used with spattered cream or mask over the whole
to do and how they did them. Now scene,” the artist says. “I turn to Jeanne
only some of the skeletons remain.” Dobie’s Making Colors Sing for reference. I like
Jablokow’s search for subject mat- her way of creating gray using cobalt blue,
ter involves more than a passing visit quinacridone rose and aureolin yellow. I use
with a sketchbook and camera. He’ll this gray as a base for muted colors. I also
like the idea of surrounding a bright color
often return to a location a number with a muted opposite.
of times to obtain better angles and “Andrew Wyeth was incredibly loose
photos. “On the irst visit, I might and incredibly tight at the same time, which
take a thousand photographs,” he I like and hope to be able to do someday,”
says. “hen I’ll go home and review Jablokow says. “I like Winslow Homer for the
them and often determine that I same reason.”
really should have taken this or that
view, so I’ll go back to the scene. And to the size of his painting. At this ABOVE
then I’ll go back again until I’m sure stage, he’s careful to identify the hori- Quincy Smelter
(watercolor on paper,
that I have what I want.” zon line and the vanishing points of
22x30)
When searching for the perfect the perspective. He then prints it out
vantage point, Jablokow isn’t content in sections, taping the pieces of paper RIGHT
simply to stand back; he loves explor- together until he has created a full- Lots of Limbs (watercolor
ing the structures, diving into tunnels size image. He lays this over his on paper, 22x30)
and clambering up roofs. When it watercolor paper and traces the image
comes to train bridges, he even has onto it using transfer paper. He then
had to run from oncoming trains. draws with a 2H pencil to create painting to link them together,” he
a sharp, accurate line drawing, which says. “Somehow it seems like more
can take eight hours or more. “I need of a painting that way. If I try to use
Constructing the Scene the line to be fairly strong, because a brush, I tend to get stif and repeti-
Eventually, Jablokow selects an image I know that some of it is going to get tive. I also like to get paint thrown all
from which to work and a size, some- covered in washes, and I have to be over the paper as soon as I begin, so
times as large as 41 inches. He works able to see it,” he says. “I also take a I’m immediately digging myself out
on Arches 300-lb. hot-pressed paper, photo of the drawing so that if I lose of a hole. I’m better at reacting to
a choice that allows for stability and a line, I can redraw it.” what I’ve done than getting it right
ofers options for working into the sur- Having established a crisp, exacting the irst time.”
face. He begins by making a light print outline, the artist launches into an Although this part of the painting
of his photo on a sheet of 8½x11-inch entirely opposite approach, showering process is deliberately uncontrolled,
paper and then draws the main out- parts of his painting in drips and Jablokow is careful to irst mask the
lines over it in pen to establish the splashes to create a multicolored portions of the image that he wants
overall proportions and angles. patina. “My primary goal is to force to preserve as white paper. For small
Next, he scans the drawing, puts it a looseness or random pattern that areas, he uses masking luid; for larger
in Photoshop and changes the image runs through various parts of the areas, semitransparent painter’s tape.

Because he can see his pencil lines
through the tape, he’s able to cut the
Jablokow begins to work into the
image carefully using a brush. He pays Brushing
tape exactly to the line. “I’ve discovered
that it’s better to put a little masking
luid under the edge of the tape, to stop
careful attention to the logic of the
light as it falls onto surfaces or is
relected back from other surfaces.
Up
the paint from bleeding underneath,” He’s also aware of the color shifts “In my classes, I try to show
the artist says. “he cutout shapes allow across surfaces, particularly the inter- how important the amount
me to create a chaotic texture or wash play of warms and cools. he intense of water and paint you
have in your brush is at any
within a very speciic area. Masking colors of his underpainting patina help given time—and that the
luid, either dripped on the paper or this process. “I’m afraid of creating amount you need changes
blown through a mouth atomizer, cre- something gray and muddy, so I depending on what you’re
ates crisp edges and areas that can be throw the color in,” says the artist. “It’s trying to accomplish. Every
illed with color after I’ve removed the easier to add an opposing color to dull brushstroke has to be
masking. I’ve been able to loosen up something than to try to brighten an calculated. With practice,
this becomes second
within the diferent shapes, but I still already dull color. he layers of color nature. I had so much
need those shapes to be exact.” seem richer than trying to mix a cor- trouble early on with paint
rect color from the beginning. And just wandering everywhere
then I just like playing with the colors.” that I try to explain why
Playing With Color his playful attitude toward color that’s happening.”
Once he has established his areas lends Jablokow’s work a warm, satu- —Peter Jablokow
of lively, free-wheeling texture, rated look in which the color remains
“I’M BETTER AT REACTING TO
active at every point, never sliding into WHAT I’VE DONE THAN GETTING
a dead gray. “I’m partly just afraid to
have boring color,” he says. “If I paint IT RIGHT THE FIRST TIME.”
more than an inch with one color, it’s
already looking too uniform, so I change
colors or add something to vary the around, but I don’t permanently angle As he approaches the completion
color I’m using. I do complicated, my paper. In the early stages, I place it of the painting, Jablokow continues
detailed things with a fair amount of vertically against the back of a couch to work across the image, making
contrast. hey tend to be value-driven, and throw paint at it. Large washes are hundreds of minute adjustments and
so the color seems secondary. I often poured onto the paper on the loor.” changes. He inds that using granulat-
just use colors I like, sometimes a Discussing washes, the artist says ing pigments helps the look of the
warm/cool combo of some kind.” that he never wets down areas of the painting, enriching its overall feel.
To make eicient use of his reference paper before applying a wash. “I worry “I’m aware that the viewer is going
photography, Jablokow works at a that I won’t be able to see which parts to look at every corner of the piece,”
broad, lat desk facing a large computer of the paper are wet,” he says. he says, “so I have to make sure that
screen. “I can zoom in on details or look In taking on such complex imagery, everything reads.”
at photos from other angles to under- Jablokow naturally inds himself mak-
stand what’s going on,” he says. “I pick ing corrections. When he wants to
up the paper often to run the paint return an area to white paper, he Formulating Light
takes a toothbrush and scrubs into In part, Jablokow’s taste for precision,
the surface. If he needs to work to a and his concern with perspective and
OPPOSITE clean edge, he masks it out and scrubs the fall of light on planes, stems from
Kinzie Street Train Bridge right over the edge of the mask. his more than 20 years working as an
(watercolor on paper, 22x30) Before he starts to repaint the erased architectural illustrator. Trained as an
BELOW area, he’ll add a small amount of siz- architect, he found himself employed
Scissor Bridge ing to it to reduce the absorbency of as a renderer during a business down-
(watercolor on paper, 29x41) the scrubbed surface. turn and stayed with it.

Artist’s Toolkit
PAINTS
• Daniel Smith (particularly the
granulating paints): aureolin
yellow, quinacridone gold,
quinacridone sienna, cobalt
violet dark, quinacridone coral,
quinacridone rose, ultramarine
blue, cobalt blue, manganese
blue, diopside genuine
• Holbein: bright violet
• QOR: transparent pyrrole
orange
SURFACE
• 300-lb. Arches hot-pressed
BRUSHES
• Smaller brushes, up to size 16:
kolinsky sable, Cheap Joe’s
“Architectural illustration is exact- With this in mind, the artist recalls Dragon’s tongue, Dick Blick sable
ing; everything is clean and in sharp a reaction that he liked from a viewer. • Larger synthetic brushes:
focus,” he says. “I’ve always loved igur- “She said that my subject matter is Escoda Versatil synthetic sable,
ing out perspective as well, so I enjoyed uninteresting, kind of just old stuf, up to size 22, 3-inch hake brush,
the work. I had to render all the angles, but that when I paint it, it seems to Escoda Reservoir Liner
planes and details correctly, or the be much more interesting,” Jablokow PALETTE
architect would call right away. Since says. “She was able to get a sense of • John Pike palette with the paint
what I was painting didn’t yet exist, what makes it exciting to me. I do wells divided in half
I had to construct formulas for how believe that’s what I’m doing—trying MISCELLANEOUS
light worked in shadows, and with to express what’s exciting about these • drafting tape and wide painters
relections on diferent materials and things to me. I’m not thinking about tape made for house painting,
forms. his really helps me understand someone wanting to buy it; I just mouth atomizer from Dick Blick,
how to translate odd things happening want to enjoy painting it. It’s a lousy Pebeo Drawing Gum, Holbein
in reference photos. In my painting, business model, but enjoyable. Kind Multi Sizing
I still like to igure out all the planes of a luxury.” WA
and forms—even if they’re all in
shadow or mostly hidden in a large, John A. Parks (johnaparks.com) is a
dark shape—so they’re lit correctly. painter, a writer and a member of the
I ind that resolution comforting.” faculty of the School of Visual Arts in
In spite of the success of this
approach, Jablokow still hankers after
New York. Turn for a demo
looser, more adventurous painting.
“he big downside is I’m way too stif
and exact,” he says. “I need to keep
moving away from that. It will come
Meet the Artist
when I’m ready.” Peter Jablokow (peterillustrator.com) was born and
raised in La Grange Park, Ill. His mother, Alla
Jablokow, is a professional artist, and he has fond
Conveying Excitement memories of coming home from school to find her
working away at the kitchen table. He enjoyed
Jablokow’s works have a feel of painting as a child, but when it came time for school,
heightened or augmented reality, an he trained as an architect at Iowa State University in
impression of things experienced at a Ames, Iowa. Jablokow worked for more than 20 years
pitch of concentration and compre- as an architectural illustrator in Chicago before the
hension that almost amounts to advent of computer rendering changed the nature of
sensory overload. We’re aware of a the business. Since 2008, he has been a full-time painter, teacher and
workshop instructor. His work has earned many awards, including the
sense of glorious splendor and dazzle American Watercolor Society Joan Ashley Rothermel Memorial Award in
in the world, and we’re all the more 2017 and the Transparent Watercolor Society of America (TWSA) Founders’
surprised that it’s elicited from Award in 2012. He’s a signature member of TWSA, the American Watercolor
images of decay and abandonment. Society and the National Watercolor Society, and a TWSA board member.
demo
Abandon(ed) Ship
Peter Jablokow combines architectural precision with colorful drips
and spatters to pay homage to a bygone dredging vessel.
Step 1
I drew a clear pencil
outline on the painting
surface based on the
panoramic reference
photo.
Step 2
To preserve white areas,
I used mask (blue areas)
and semitransparent
painter’s tape (yellow
areas) trimmed to the line.
I placed a little mask
underneath the edge of
tape to prevent paint from
bleeding. Then, I spattered
and dripped red, yellow and
pink paint onto the surface.
Step 3
After building the color
further to create a
multicolored patina,
I removed the mask to
reveal the preserved
white areas. Then, I used
a brush to develop some
of the darker areas and
to build washes over the
spattered and dripped
areas of the painting.
“I’M AWARE THAT THE VIEWER IS GOING TO LOOK

AT EVERY CORNER OF THE PIECE, SO I HAVE TO
MAKE SURE THAT EVERYTHING READS.”

Step 4
I built the shadow colors on
the snow at the base of the
building. I pushed the color,
alternating violets and
turquoises in the shadow,
and adding a little yellow
orange to the edge of the
light areas. I enriched the
colors and began to develop
the subtle play of light
across some of the surfaces.
Step 5
Next, I developed the
detailed texture of the
snow in the foreground.
Step 6
After determining that the
beam on the upper right
was too dark, I scrubbed
it back to white using a
toothbrush. I’ll also
address the two splashes
in the doorway to the left
in the same way.
Final
I repainted the beam on the right using more active color, and then I worked back through the whole image to
increase the subtlety and richness of the color in Quincy Dredge Doorway (watercolor on paper, 12x41). WA
A Day in the Life
STEPHEN QUILLER’S VIBRANT LANDSCAPE
PAINTINGS REFLECT THE JOY AND COLOR
IN THE ARTIST’S INSPIRING LIFE IN THE
MOUNTAINS. SPEND A DAY WITH HIM
TO EXPERIENCE THE ROUTINE THAT FEEDS
HIS CREATIVE SOUL.
By Stephen Quiller
1.by feeding
I begin my morning at 6:30 a.m.
the birds and having tea
2. At 8:00 a.m. I enter my studio, which was built in
2002 about 50 yards up river from our home. It’s my
and breakfast with my wife, Marta. dream studio, and I’ve honored it every day. It sits
Watching the various finches, just above the Rio Grande River, and my painting
chickadees and juncos feed, and window faces true north.
seeing the occasional bald eagle fly
up and down the river, is a good way
to start the day.
3. I have an east-facing,
4x6-foot room with a
window that’s dedicated
to meditation. I’ve done
this daily practice since
1975. Meditating centers
my mind and helps me
prepare for unexpected
difficulties throughout
the day. It also assists in
visualizing my painting
process.
PHOTOGRAPHY BY ALLIE QUILLER
Occasionally, while paint is

“drying, I step out on my deck,
take in some fresh air and
enjoy a favorite view.
”
4. Next, I take care of my
business work—emails, various
writings and phone calls—in
my study. With these tasks 5. I paint in my studio during the late
autumn, winter and early spring. I use
addressed, my head is clear,
and I can begin painting. the plein air sketches and color studies
I’ve made along the river and
mountains close to my home for
reference material and inspiration. I use
watercolor, gouache, acrylic, casein
and all their combinations. Here, I’m
working in acrylic using a watermedia
approach on watercolor paper, which
was previously soaked and stretched
around heavy-duty stretcher bars. (See
the finished painting on page 35.)
6. I take care of my paints and

palette at the end of the workday,
so that everything is in place for
the next day.
7. Most days, in season, I go to the high country to cross-country ski in the

late afternoon. I make my own trails and have a variety of backcountry
experiences. I always take my sketchbook and an iPad to record anything
that inspires me. It’s a great way to end the day.
Turn page for more

Stephen Quiller (quillergallery.com) is an internationally recognized painter, author
and instructor. He’s a Dolphin Fellow of the American Watercolor Society, and a
signature member of the National Watercolor Society, National Society for Painters
in Acrylic and Casein, Rocky Mountain National Watermedia and Watercolor West.
His new DVD set, “Water Media en Plein Air,” is available on his website.
A Day in the Life
The beautiful scenery that Quiller encounters on his afternoon

ski excursions offers an endless supply of landscape inspiration.
CLOCKWISE FROM LEFT

Raking Light Along the
Bachelor Trail (acrylic
watermedia on Aqua-
bord, 24x36) is all about
“the late light and vertical,
syncopated patterns of
the trees,” Quiler says.
Late Light Off the

Logging Road Trail
(acrylic on paper, 44x34)
was the reward for
working his way uphill
through fresh snow to
access the trail that
offered this view.
It was the foreground

light and the shadows
filtering through trees that
inspired Flickering Late
Light Along the Ridge
Trail (acrylic and casein
watermedia, 22x30½).

Born Free
A STRONG DRAWING FOUNDATION, CONTROLLED PAINTING EDGES,
PURPOSEFUL BRUSHSTROKES AND KEEN ATTENTION TO DETAIL
BRING KATHRYN MAPES TURNER’S ANIMALS TO LIFE.
By Amy Leibrock
athryn Mapes Turner’s childhood sounds like the stuf of

fairy tales sprinkled with Dr. Doolittle. She grew up sur-
rounded by mountains, wilderness and family on a ranch
in Grand Teton National Park that has been operated by
her family for ive generations. Her father, a zoologist,
was constantly rehabilitating animals, including coyotes,
elk calves and all sorts of birds. “I had a pet raven, and
we always had a bald eagle in the backyard,” says Turner.
Being raised in such a special place had a profound impact on Turner—and
her future career. “I felt from a very early age that I wanted to ind a way to con-
nect with and express my appreciation for the beauty of this place I call home,”
she says. “Painting became that mode of expression.”
GOING WITH THE FLOW

Today, she intimately documents the animals and landscape of the American
West, consistently adding to her body of work. Although she does a lot of work
in oil, watercolor is her irst love. Turner started playing with watercolor as a
child. An artist friend of her father’s noticed her interest and introduced her to
some fundamentals of the medium. “I was handed real technical tools,” she says.
“I felt like a door had been opened to a world in which I could lose myself.”
At 12 years old, Turner had a corner of the house where she could paint.
She’d also tuck her supplies into her saddlebag and tote them around the ranch
and on backcountry trips with her family to do plein air painting.
Free (watercolor on paper, 10x8)

With all that time to experiment, herself earning a living as an artist. right, because even if viewers don’t
the watercolors themselves became She went on to earn a master’s degree know how to draw, they intuitively
her teacher. “I learned a lot of life at the University of Virginia and to know the proportions,” she says.
lessons—not to overcontrol, over- spend a few years as an art teacher Getting the drawing right is more
work or overthink, and to just go with in the Washington, D.C., area. about accuracy than including every ear
the low in an organic way,” she says. At a time when abstract expres- and eyelash. “If it’s accurate, I can get
She learned to let the paint dry natu- sionism dominated the art school away with a ‘less-is-more’ approach.”
rally without fussing with it. She curriculum, Turner feels that she was
experimented with diferent color lucky to ind artist mentors from
combinations, diferent ways of whom to learn more traditional CAPTURING THE SOUL
moving the water and the paint, and approaches to drawing and painting. Before Turner begins to paint, she
letting the water move itself—all In 2000, even though she loved teach- makes thumbnails to work out the
skills she relies on to this day as she ing, she decided it was holding her positioning and composition. “he
continues her relationship with the back from her dream. So, she quit her clearer I can get in my composition,
natural world, painting the animals job and returned to Wyoming to begin the more conidence I have going into
and landscapes she cherishes from the transition to full-time artist. the piece,” she says. hat strong foun-
her studio that overlooks the Teton Now, Turner’s days are spent “play- dation allows her to take a lighthearted
mountain range. ing” again, observing elk migration approach to the painting process.
and snow-packed peaks from her back- When she’s happy with the posi-
yard. She treats learning an animal’s tioning and composition, Turner will
RETURNING TO PLAY form, movement and proportions as a put down an initial wash to get her
Turner continued to explore art in discipline and a way to honor the ani- base set. If she’s painting an animal,
college while at the University of mal. Part of that is making sure each she’ll then paint the eyes and face.
Notre Dame, and spent a semester animal painting is rooted in a strong “It’s the most important part of the
in Rome, but she didn’t yet envision drawing. “he proportions have to be painting,” she says. “he eyes are so

ABOVE
Coming Home (watercolor
on paper, 7x19¼)
LEFT
Mosey (watercolor
on paper, 8x10)
special; they’re so alive, there’s so Once the eyes and face are set, she darks irst also retains a transparent,
much soul in them. If I don’t get them moves on to adjacent areas, resisting less muddy quality in the color. “But
right, I might as well just start over.” the urge to hop around the painting the tricky thing is that when
he other reason Turner starts with in its early stages. She also puts in her I’m putting them in, I deinitely also
the eyes is because they give the darks in these initial stages, similar to have to control the edges,” she says.
painting a chi, or spirit. “As a painter, the way an oil painter would work— “When I’m setting my darks, the
I like to have a relationship with that a method she learned from watercol- whole time I’m thinking, ‘Is this going
being that’s emerging of the paper,” orist Charles Reid. his allows her to to be a hard edge or a soft edge,
she says. “It’s much more of an engag- ensure the painting has a strong because when it’s wet is when I can
ing conversation that way.” structure and foundation. Adding the change it.’ ”

RIGHT
Union (watercolor
on paper, 16x16)
BELOW
Pleasant Things
(watercolor on
paper, 12x16)
To work the edges, Turner loads sat- deliberate in iguring out the next move instead of
urated paint onto the tip of a round going in with “guns blazing.” “Spending more time
brush, and less saturated paint or plain looking and thinking, and less time painting, serves me
water onto the back of the brush. hen well,” she says. She also works from large shapes to
she can use the back to pull the paint small shapes, always thinking about how many edges
into certain areas or to soften the she can lose so she can capture the essence of her
paint. “I’ll put down saturated paint subject with as few as possible—in a poetic way.
and then bring in water next to it to Studying Chinese brush painting has helped Turner
pull it in the direction I want,” the resist the urge to overwork her pieces. “In Chinese
artist says. She keeps a towel handy, brush painting, you do the stroke and then you leave it.
but she tries not to scrub too much. If you go over it a second time, you kill the chi, or life
Turner also makes use of the white force, of that particular stroke,” she says. “I think about
of the paper as a design element and that a lot when I make a brushstroke. It might not be
a resting place for the eye, but she has perfect, but it will be a whole lot better than if I go in
stopped relying on masking luid to and paint another stroke on top of it. It will have a lot
preserve those areas, preferring more personality and life to it.”
instead to control the paint and the Turner uses a broad range of brush sizes, from
edges herself. big, moppy washes to tiny rounds. “I love paintings
with varied brushwork—soft edges, hard edges,
found places, lost places, bold brushwork and delicate
DOING MORE details—so it’s important to have a combination of
WITH LESS brushes,” she says. “If you invest in the right watercolor
When Turner places a wash, she does brush with the right snap that comes to a point, it will
so with conidence; once it’s dry, she’s last for so long.”
One tool that Turner relies on is a large hand-held ochre, burnt umber and burnt
mirror. She picks it up often and views a painting sienna—for her crane paintings,
OPPOSITE through it, turning the painting upside-down to spot adding just a dash of cadmium red for
Rodin’s Hose laws in the composition and inform her next move. the cap. Because the amount of colors
(watercolor on “If the composition will work upside-down and in available can be overwhelming, Turner
paper, 8x19) reverse, then it’ll work right-side up,” she says. says taking time to do color charts and
BELOW Turner has been applying her less-is-more approach color gradations has been important
Willow (watercolor to color lately as well, working within a limited palette. in helping her learn how each color
on paper, 8x8) She uses just four colors—ultramarine blue, yellow behaves and interacts with others.

“The eyes are so special; they’re necks, they create all these incredible
shapes,” Turner says.
so alive, there’s so much soul in She combines and recombines
those shapes in her compositions and
them. If I don’t get them right, has yet to tire of playing with the pos-
sibilities. She has created more than
I might as well just start over.” 50 crane paintings in the last three
years and donates many of them for
fundraising eforts.
“I think the world needs beauty
Turner’s favorite paper is Fabriano he artist is involved with her now more than ever, and I support all
140-lb. cold-pressed, and she uses a local land trust organization, and artists looding the world with it,” she
watercolor block when painting en she also partners with the Inter- says. “For someone who’s struggling
plein air. She used to stretch the national Crane Foundation, which with what to paint, my advice is to
paper, but now she just lattens her has helped to save 11 of the 15 crane ind something you love and take it as
paintings when they’re inished. After species from extinction. far as you can.” WA
getting the back of a painting really “Cranes are undeniably beautiful
wet, she positions it under glass with birds, and when they dance, with Amy Leibrock is a Cincinnati-based
blotted paper and places a lot of their long legs, broad wings and crazy freelance writer and content manager.
weight on top of it.
HONORING
NATURE’S GIFTS Meet the Artist
Turner feels grateful to have had Kathryn Mapes Turner (turnerfineart.com) is the fourth
the privilege of growing up in Grand generation to be raised on the Triangle X Ranch in
Teton National Park. Now she’s in Grand Teton National Park. She began studying art
a position to use her art to give back in her teens from noted local painters near Grand Teton
by serving wildlife conservation and National Park. She attended the University of Notre
Dame, majoring in studio arts. She studied at the
habitat protection groups. Corcoran School of Art, in Washington D.C., and
“We’re at a turning point in that earned a master’s degree from the University of
we all need to care more about the Virginia. She’s nationally recognized with top honors
natural world,” she says. “Animal from the American Impressionist Society and the
conservation is always good for National Academy of Equine Art. Her work has been exhibited in the
people, because animals are such an National Museum of Wildlife Art, the C.M. Russell Museum and the Leigh
Yawkey Woodson Art Museum. She has been recognized as “Wyoming’s Best
indicator of the health of the planet.
Watercolor Artist” in 2001 by the Wyoming Watercolor Society and was
If we can save space for the animals, included in Southwest Art magazine’s annual profile of young artists with
then we also save space for trees, promising careers. Turner owns and features her work at Turner Fine Art
making for a cleaner, healthier planet.” Gallery, in Jackson Hole, Wyo.
Just Paint
SOMETIMES THE BEST PAINTING ADVICE IS THE KIND THAT COMES TO
YOU WHEN YOU MOST NEED TO HEAR IT. IN THIS EXCERPT FROM MY
NEW BOOK, THOMAS W. SCHALLER, ARCHITECT OF LIGHT, I RECALL SOME
OF THE SHARED WISDOM THAT HELPED MOVE MY ART FORWARD.
By Thomas W Schaller
ABOVE
Study of Roman Light
(watercolor on paper, 10x14)
OPPOSITE
In the Deep Midwinter, NYC

“Don’t rely on a veil
of technique.”
—JEANNE DOBIE
My irst instructor in watercolor, the
great Jeanne Dobie, said so many
powerful things to us students in her
painting groups. At the time, I wasn’t
ready to hear or fully understand, but
that’s the power of an outstanding
instructor. hings she told me long ago
slept in the back of my mind and now,
when I’m ready, they’ll often speak up
and make themselves known.
What a powerful message. here are
so many gimmicks that watercolorists
can use as a crutch or as window
dressing. Overwhelming expertise
and technical gymnastics aren’t auto-
matically wrong, but I’ve come, over
time, to understand what Jeanne was
saying. On the one hand, technique
can distract from the fact that a paint-
ing doesn’t have much to say. But, on
the other hand, it can mask or mule
what a painting does have to ofer.
More often than not, the most power-
ful paintings are those that dare to
tell their stories simply, directly and
with a minimum of fanfare.
hree times I saw the retrospective
of John Singer Sargent—giant and
hero to so many of us. I had seen
most of these particular watercolors
before, either in books or on exhibit
elsewhere. But owing to the brilliant
curation, what most impressed me in
this exhibition was the directness
with which Sargent seemed to work.
“Ideas are like fish. If you want to catch little fish, you can stay He didn’t shy away from using any-
in shallow water. But if you want to catch the big fish, you have thing that was at hand—bits of
to go deeper. Down deep, the fish are more powerful and more opaque, pencil or charcoal—and the
pure. They’re huge and abstract. And they’re very beautiful.” scraping and scrubbing that he
employed. he point to me isn’t that
—DAVID LYNCH
he used any one of these as a gimmick
Some years ago, I heard those words from the ilmmaker David Lynch, and or crutch, but that what seemed most
they never left me. At the time, I was struggling with my work. It had stalled. important to him was the story each
I had improved a good bit technically, and yet too often my work seemed a bit of his works had to tell.
remote, impersonal. After working so long in the realm of commercial design No matter how many times I
art, I began to understand what was missing. It was me. My paintings often looked at each painting, Sargent’s
had some of the academic in them, but not much of the poet, not much from heart seemed to jump of the surface.
the heart. It was a particularly uncomfortable discovery. I was largely unaware of and uncon-
To a degree, I fell into a trap that so many others have. Subconsciously, cerned with his technique, because
I believed that all I had to do to become a better artist was to continue to the story was entirely front and
work at improving my technical skills. I’m not dismissing the importance center. It wasn’t his choice of subject
of better technique. We always should strive to improve our abilities to draw matter, palette, paper, brushes or
and paint, but technical proiciency alone is insuicient. Anything approach- technique that most impressed me; it
ing art asks for more. was his intent and clarity of purpose.
Get More Today, there are still so many artists who are terribly concerned with
the “rules” of watercolor. I’d never dismiss purists or traditionalists; they
Great Insights have valid priorities. But I’m no purist. I only hope that any of the self-
imposed rules to which we all adhere aren’t allowed to supersede the mes-
sage of the art they’re meant to support.
“Just paint.”
—JOSEPH ZBUKVIC
If any two words have altered my life more than this, I can’t imagine what
they are. Words have great power if only we can learn to hear them, let
them motivate us and give us strength.
he great visionary Buckminster Fuller addressed one of my classes
when I was far too simple to grasp much of anything he had to ofer. Near
the end of his talk, however, he said something that has stayed with me
This article is excerpted from always. To paraphrase: “I believe that people are capable of doing most
Thomas W. Schaller, Architect of anything they want to do. he problem is that most never take the time or
Light (North Light Books, 2018), make the efort to igure out what the hell that is. Don’t worry so much
by Thomas W. Schaller.
about inding ‘success.’ Just ind something you truly love to do—and go
> You can purchase a copy at out in the world and do it. Success will ind you.”
artistsnetwork.com/store or As I remember, he then just seemed to walk ofstage quietly. I sat
from your favorite bookseller. upright, and knew enough to realize he had said something worth hear-
ing. But the answer wouldn’t come until 2010, when I took a watercolor

LEFT
Night in the City, NYC
OPPOSITE
Dartmoor
“Inspiration is for amateurs.

The rest of us just show up
and get to work.”
—CHUCK CLOSE
here’s truth in that. We never pro-
duce or improve if we don’t put in
the time and do the work. Simply put,
painters paint. I like the way Close
demystiies the act of painting. He
doesn’t back away or romanticize, and
he manages it without stripping any
life or joy from the actual art itself.
He knows the truth about embracing
life as an artist. It’s simply what he is,
what he does.
It’s a hopeless waste of time to sit
around wondering who we are or what
we should do. Somewhere inside, I
know, even if I’m stuck, that I always
have something to paint. But this
isn’t always entirely clear unless I’m
working in the studio. If I just start
sketching, something always reveals
itself. Is it going to be good? We’ll see.
he process is key. I believe in inspira-
tion, but inspiration without action is
insuicient. In the end, it’s better just
to get busy. WA
workshop with the one and only Joseph Zbukvic. I had admired him for so Enter to win!
long and was thrilled to have a chance to paint with and learn from him.
Never would I aspire to paint like him (who could?), but I did hope to watch SHARE THE BEST
him paint, to listen to him and to learn a little about how someone managed PAINTING ADVICE
to live as an artist in a world such as ours. YOU’VE EVER
One night after class, Zbukvic asked me what my aspirations were. I RECEIVED.
briely told him my story and that I hoped to see myself as an artist one day.
“hen why not?” he said. After quietly listening to me make excuses for 10 Send us an email at wcamag@fwmedia.
com sharing the advice you’ve received
minutes, he just shrugged and said, “Well, if you want to be a painter, just about watercolor painting that has had
paint. he rest will take care of itself.” the most impact on you and your art. Be
At the time I just thought, “Hmm, easy for him to say.” But I hadn’t really sure to include “Painting Advice” in the
understood. In time, I’d igure out that he simply meant that if there’s any- subject line. The “editor’s choice” will
thing you really want to do in this life, do it. Don’t make excuses. If some- receive a copy of the new book, Thomas
thing is really important to you, you’ll ind a way to make it happen. And so, W. Schaller, Architect of Light. The entry
bit by bit, my life changed—from the inside out. And every day since, those deadline is October 15, 2018.
words are more and more true.
Abstract Artistry
MARY ANN BECKWITH EXPERIMENTS
WITH UNCONVENTIONAL TECHNIQUES
TO CREATE A VISUAL LANGUAGE THAT
REFLECTS HER WORLDVIEW.
By Louise B. Hafesh
M
ary Ann Beckwith inds a lot to “Monument
love about abstraction. “Much like [watercolor on
YUPO, 22x30] was
solving a puzzle, I’m always experi-
the first in a series
menting with textures and of paintings that
material to see what visually stim- I created as
ulating efects I can create,” says the watermedia memorials to
artist. Despite being schooled in the traditional lost loved ones,”
Beckwith says. “Each
aspects of classical drawing, painting and design, piece holds symbols
Beckwith enjoys the freedom and challenges pre- representing the
sented by exploring non-representational design person I cherished.
elements and color. In Monument, I was
also working toward
“Motivation to change and grow is part of my
creating larger,
nature,” says the veteran professor and workshop textured color fields
instructor. “I always want to ind ways to improve in my work.”
and grow in my work, and I consistently encourage
my students to move forward and embrace change
and evolution.”
Evolution in Genre
Beckwith says that her own style progression from
classical to abstraction began during her college
years when she studied painting and drawing at
Marygrove College, in Detroit. “During lectures,
I’d subconsciously allow lines, shapes and patterns
to ill in my notes as I sat in class,” she recalls.
“I liked the results and began to think of ways
I might use those doodles in my work.”
Later, Beckwith would encounter the art of
experimental painters Virginia Cobb, Louise
Cadillac and Maxine Masterield, and become
more acquainted with the work of modern abstract
painters such as Paul Jenkins, Jackson Pollock and
Piet Mondrian. “Enchanted, I spent a lot of time
searching for my favorite painters and signed up
for workshops with the best professional artists
in the country, which were, by far, the richest
and most diverse training experiences for me,”
Toolbox
PAINT
• Liquid Watercolors by
Robert Doak: azo yellow
medium, phthalo
turquoise, quinacridone
magenta, transparent red
oxide and titanium white;
American Journey acrylic
paint by Cheap Joe’s
PAPER
• YUPO; Arches 140-lb.
cold-pressed
BRUSHES
• Cheap Joe’s Pseudo
Squirrel, Scroggy’s Loose
Goose Dagger Striper,
Lizard’s Lick and Fitch
Scrubbers
MISC.
• spray bottles; Paint Easy
by Wagner’s to dilute the
paint and condition the
flow of the spray; various
materials for imprinting
she hastens to point out that her

approach isn’t accidental. “I plan
ahead,” she says, “often with a precon-
ceived concept. But once I begin, I do
let the individual needs of each paint-
ing inluence me.”
Beckwith often uses reference
ABOVE material as a springboard to get to
“I used a new painting approach that point, and frequently spends
to make A Most Delicate Balance she says. “I learned tricks that I could hours looking for and gathering
[watercolor on YUPO, 30x22],”
share with my students and ways to shapes, form, color, line or interesting
says the artist. “I first painted the
whites onto a piece of YUPO, and make them more excited about art. designs that might become the basis
then used the paper like a stamp hese experts with whom I studied of a painting. She even sorts through
to transfer the white paint onto my provided a vast and varied range of personal photos or pictures in maga-
underpainting.” arts perspective and knowledge, and I zines and copiously crops them to
OPPOSITE was exposed to tools that would lead isolate sections that may inspirit her
Leap of Faith (watercolor on me to the techniques I use today.” work. “Some days or evenings when
YUPO, 22x30) is another in a series I’m not able to paint,” she says, “I
of personal tributes to honor gather bits of paper, typography and
departed friends and family. Developing a torn paper, even scraps of paintings,
New Skill Set and use them to make small collages
In college, the focus had been on or thumbnail sketches.”
drawing precisely and with observa-
tion and clarity. A diferent criteria
and skill set came into play as Let Pattern Preside
Beckwith began to experiment with When it comes to actually putting
expression and abstraction. Still, as a paint to paper, the artist develops her
testament to her classical training, work in layers, and typically has many

“I plan ahead, often with a preconceived
concept. But once I begin, I do let the individual
needs of each painting influence me.”
paintings going at once, all at diferent and ready to go.” For that purpose, I build my designs,” Beckwith says,
levels of completion. “While one is Beckwith ills bottles with equal “I prepare many pieces by mounting
drying, I can work on another and amounts of Robert Doak paints and YUPO on Gator Board and then place
study a third,” she says. “I prefer to use distilled water, adds a tablespoon of materials such as cheesecloth, thread,
spray bottles to deliver pigment to the Paint Easy, and lines up a limited pal- twine or eyelash yarn, even decorative
surface in the early stages of a paint- ette consisting of ive concentrated Halloween cobwebs, in a way that,
ing [brushes and small paint rollers or colors (see “Toolbox,” opposite). when dampened, will leave an impres-
brayers are used in later stages]. hat Once the painting has begun, color sion on the paper’s surface.”
means on the day before I start a new and pattern take precedence. “Since From there, the artist uses a 3-inch
painting, fresh paints must be mixed they form the foundation on which brush to wet the prepared surface with
water. “Watch that all the threads designs around what they love in the
from any material you’re using are beginning. Protect what you love;
touching the surface, and that the embrace what enchants you.” RIGHT
“After a disastrous injury, I needed
paper surface is wet evenly,” she cau- For that, Beckwith says to shield to rely on others for almost every
tions. She then begins to spray paint the best parts of an in-progress paint- need. The large broken shape in
onto the surface. Each painting is set ing with scraps of heavy paper, mat Never Alone [watercolor on YUPO,
aside to dry completely before any board or contact paper. “I use old ile 30x22] represents me,” says
Beckwith, “and the other shapes
webbing or materials are removed. folders, lat plastic packaging, even tethered to the large shape
Beckwith uses this drying time to round lids and irregular pieces of lat, represent those who were always
study each uninished painting care- rusty scraps, which can be very beauti- nearby to help me.”
fully and to consider what’s needed to ful,” says Beckwith. “I occasionally use
bring each one to completion. stencils that I’ve cut from heavy scraps BELOW
Beckwith began building
of YUPO. I always prefer to use carefully transparent layers of a neutral
cut and original stencils in my art.” warm tone in Echoes of the Past
Protect What You Love Once protective barriers are applied (watercolor on YUPO, 22x30). The
To inish a painting, Beckwith preserves to those parts of the painting she layers became opaque, but they
allowed some of the previous layer
the parts she inds most interesting. “If wishes to preserve, Beckwith sprays to show. “I removed all of the
there are wonderful areas in your paint- the next layer, covering more areas masking, tape and contact paper,
ing, use them to your best advantage,” with paper or other materials, spraying and added more layers of neutral
she says. “I tell my students to design and continuing on in that manner. color,” the artist says. “I stamped in
their compositions by building their She cautions: Only remove added, letters and used whites for a value
adjustment, plus a handmade
stamp of a face.”

6 Ways to Make
Better Art
Amass a trove of helpful
tools. Gather photos, bits
of paper, typography and
torn paper, and scraps of
paintings for inspiration. I cut
out rectangles or squares,
about the size of a playing
card, from the center of a
piece of white card stock and
always have them on hand.
Never declare your work

a failure. Your painting might
simply require more attention.
Study it to see what needs to
be done next. Add lights or
darks. Simplify or add detail.
Add lines or shapes.
Embrace what you love. Paint

what you love. Don’t paint
what others want you to
paint. It’ll show in your work.
Learn your craft. Take

workshops, seminars or
classes. Read books and
magazines. Watch videos and
see what others are doing.
Study all that you can get
your hands on to stay current.
Be courageous. Experiment.
Push the limits of your work.
Try a new palette or limit your
color choices. Paint larger or
smaller. Try a new substrate.
Patience is a virtue. It’s done

when it’s done. Art isn’t about
a deadline. You’ll find that
some paintings happen in
no time at all, while others
may require much more time
to complete.
TOP Believe in yourself.
Beckwith begins all her paintings with a bright,
colorful, textured underpainting, expecting to
add more layers of paint to complete the image.
—Mary Ann Beckwith
In Once and Again (watercolor on YUPO,
22x30), however, the cobweb “underpainting”
stood on its own. “I’ve never wanted or needed
to add anything more to this painting,” she says.
ABOVE
“I tell my students to design their
“As I studied the masked areas in Division
[watercolor on YUPO, 22x30], I saw a shape
compositions by building their designs
that reminded me of the United States,”
Beckwith says. “The political climate and divide
around what they love in the
in our country led me to finish this piece as a
veiled political reference, but it may say
beginning. Protect what you love;
something very different to another viewer.” embrace what enchants you.”
When Beckwith designed
Fragile Balance (watercolor on
textured material when the surface is say ‘What if I ...’ and then do it. It may YUPO, 22x30), she wanted to
dry. his will prevent dragging or not work, but then again, it may. Be explore how far she could push
smearing wet paint. “If you have a willing to take the risk and to step on the limits of balance within a
composition without visually
light start, spray darker color,” she unsure ground. It’s the only way to
throwing off the viewer.
says. “If you have a dark start, use a advance.” WA
lighter color. hen you can enhance the
design with any solution you can think Louise B. Hafesh (louisebhafesh.com and
of, and depending on what you need paintersportal.blogspot.com) is an
on your design, add lines, gestural award-winning artist and writer. She’s a
marks, stencil a shape, print a bit of frequent contributor to Watercolor
pattern on it—have fun!” Artist and Artists Magazine.
Taking Risks
Beckwith’s work has changed dramati- Meet the Artist
cally, and her ability to create a
mesmerizing visual language that Professor of Art Emeritus at Michigan Technological
University, Mary Ann Beckwith (maryannbeckwith.org)
relects her view of the world is has twice been the recipient of the University’s
unique. “I have more skills, tricks and Distinguished Teaching Award. She’s a signature
knowledge, but there are always the member of the American Watercolor Society, National
challenges of trying to make art and Watercolor Society, Allied Artists, Watercolor USA
expectation inally coincide,” she says. Honor Society, International Society of Experimental
“Change can be frightening, but I’ve Artists (Nautilus Fellow), among many more, and has
served on the boards of watercolor societies and
learned that the most important judged numerous exhibitions. A respected author,
thing is to never make a piece of art educator, workshop teacher and juror, Beckwith divides her time between
too precious or too valued. You must the Upper Peninsula of Michigan, Northwestern Ontario and New Smyrna
always be willing to take chances, to Beach, Fla., happily painting and conducting workshops.
Bright Ideas
Everyday Sketching
To encourage a more regular habit, I created
a list of prompts to inspire daily sketching.
By Liz Steel
t his past spring, I embarked on a

personal project designed to get
me sketching more in the midst of
the grind of everyday life. Yes, I want to
keep my creative juices pumping and
of each day. he idea is to mix it up—
to do some sketches at home and
others when I’m out and about. I gave
myself very few rules. I can pick and
choose from the list as I wish, and
ABOUT ME
I’m a Sydney, Australia-based
artist and architect. Since
trying out a watercolor field kit
in 2006, I haven’t stopped
painting my life in my sketch-
improve my sketching skills, but my there aren’t any requirements for how book. I love to travel over-
PHOTOS COURTESY OF LIZ STEEL
main reason for a regular practice is to inished a sketch should be. seas and enjoy capturing these
keep a visual journal—to sketch things My everyday sketching project is adventures in my sketchbook.
For more information about
that are descriptive of day-to-day life. not especially unique, but the prac- my on-location sketching
To that end, my idea involves a list of tice encourages my commitment to workshops, travel-sketching
prompts that gets me thinking about regularly recording and inding the holidays and online classes,
the unique aspects or the everyday-ness joy in ordinary life. visit lizsteel.com.

Sketch Your Day
Use one of these prompts
to record something
from your day:
• Where did I go?

• What did I see?
• What did I wear?
• What did I eat/drink?
• Who did I see/meet?
• What did I do?
• What did I use/handle/
touch?
• What did I buy?
• What’s new?
• What’s old?
KEEP TRACK • What did I throw out?
I created a schedule • What’s the same as usual
at the back of my (a routine or repetitive
sketchbook to record event)?
the prompts I actually
use. It helps me see • What’s different than
which prompts I use usual (a unique event)?
most and which ones • What’s a random thing
I neglect. Recording that happened?
what I sketch is • What’s a silly thing that
keeping me more happened?
aware and • On this day, what will be
accountable. a memory?
A MIGHTY PEN
N
Most of my sketching iss
a combination of ink and
watercolor washes. Myy
preferred tool for
drawing is a fountain
pen. I love the flow of wet
ink on the page; love
that I can get a variation
of line thicknesses; and
love that I can choose
whatever color of ink
I want. My white Lamy
Joy pen with a gold
medium nib (shown at
right) is my “go-to” pen.
It truly feels like an
extension of me.
WHAT I WORE
I needed a way to get myself more
“
This sketch, in which I evaluated
the efficacy of my packing
committed to sketching ordinary life, choices, actually answers several
of my sketching prompts: what
and plotting my sketches is a fun way I wore; what’s new; what’s old;
and what did I throw out.
to be more intentional about it.
” ArtistsNetwork.com 57
CAPTURING MOOD
21
“Hello, Is Someone there?” / Robert Bratton
CALL for ENTRIES
5 o’clock Shadow / Carrie Waller Ephemeral / Lance Hunter

Showcase Your Artistic Vision
IN THE PAGES OF SPLASH 21
Your best watercolor could be featured in the

pages of North Light Books’ Splash 21: Capturing
Mood, and your work could be viewed by artists
from across the globe.
Tulip Shadows / Sharon Towle
Dawn / Peggi Habets
EARLY-BIRD
DEADLINE:
December 3, 2018
Escape Velocity / Joanna Barnum
DISCOVER MORE AND ENTER AT artistsnetwork.com/splashwatercolor

Watercolor Essentials
I’ve been to Venice three times and

have yet to step inside a building
In the Wash
other than hotels and restaurants.
I find the streets too interesting.
I painted Across the Grand Canal
(watercolor on paper, 10x14) in a sky/
land or sky/water overall wash. This
Learn the secret to successful paint layers. simply means that I paint the sky and
land first. Once they’re dry, I paint the
(Hint: Apply them deftly and keep them to a minimum.) shapes on the land. The bulk of a
painting like this can be produced
with two or three primary washes.
By Peter Cronin
b eing an artist changes the

way you see the world, and
painting in watercolor has its
own efect on your vision. I now see
the world in washes and have long-
he fact of the matter is that
you’ve got to see the world through
the eyes of the painting medium
you’re using.
paint, with a second wash over certain
parts of the initial wash, followed by
inal touches of windows, fenceposts
and so forth that I keep to a minimum.
hese washes need to be applied with
sufering, non-painting friends who THE WASH CYCLE the deftest touch. he goal: to place
look at me perplexed while we wait at To produce a clean, luminous water- the least number of washes in as few
a traic light as I blurt out, “Is that a color, it’s important to apply as few layers as possible using the minimum
second wash or a irst wash?” layers as possible. I aim for one layer of amount of brushwork.

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Watercolor Essentials
When making a painting plan, the washes on top of this ghost wash, try- onto the paper. It will vary in both
fact that watercolor is painted from ing to keep it as linked up as possible color and tone, but its edge quality
light to dark must be at the forefront while softening unwanted edges. will always be soft. It’s critical that
of our thoughts. he lighter washes Finally, I add the details. the irst wash areas that are to remain
have to go onto the paper irst, with untouched be applied in the right
the darker passages added beside or FIRST WASH strength and tone. Meanwhile, areas
on top of the initial washes once his is an overall wash and covers the that are to receive a second wash—
they’ve dried. entire paper (with the exception of the usually because they’re darker in
I tend to work in three stages: white paper the subject may require). tone—should be painted as strong
First, I apply an overall wash, or It’s either laid onto the wet paper or as possible at this stage.
“ghost” wash. By the end of this irst brought down from top to bottom in
wash, I’ve placed the lighter passages a big bead. Even on wet paper, I travel SECOND WASHES
at the required strength of hue and from top to bottom, because it’s the After the irst wash is completely dry,
tone, and I’ve hinted at the darker best way to control a wash. I paint the darker areas with second
ones. Next, after the wash is dry, he job of the irst wash is to estab- washes. I place them next to the lighter
I superimpose the darker second lish a soft impression of the image areas that I wish to leave in the tone of
the irst wash, and their job is to pro-
vide edges and make the irst wash
stand out. I sometimes pre-dampen
the paper in areas for a soft edge.
I don’t always paint actual objects with
these second washes, but instead try
to join areas into bigger shapes; this
makes the painting less busy.
I use an acronym—BTEC—before
I place a second wash, because it helps
me clarify my intent:
B—Brushwork: Where should
I start the wash? How will I travel
through its shape?
T—Tone: What depth of tone will
the wash be? Will it vary?
E—Edge: Will the wash be hard-
edged, or will I need to soften certain
edges?
C—Color: What color is the wash?
Will the color vary?
Whether I’m working en plein air
or in the studio, this approach makes
things easier to evaluate.
DETAIL WASHES
To call these “washes” is really a mis-
nomer, as this third stage usually
consists of details and accents such as
a window or igure. Even in this stage,
though, I try not to paint the whole
shape as a hard-edged “cutout.”
Sometimes, however, I’ll glaze over
an area that’s too light or that doesn’t
contain strong enough color. I ensure
that the paper is absolutely dry before
ABOVE LEFT
The painting after the first wash.
BOTTOM LEFT
Old Boats, Hythe (watercolor on paper,
10x14), with second and detail washes added.

Seeing the
World in
Washes
Working from life can be seen as
turning the real world into washes.
In the real world, a scene consists of
many hundreds of thousands of
individual objects, and we must
combine them into shapes, which
we then paint with as few washes
as possible.
I usually try to combine distant
shapes with shapes that I want to
appear more quiet in the painting,
so these areas will be connected.
Meanwhile, the focal point—which
should be eye-catching—will have
more. This is in tune with how we
actually view things instead of the
hyper-analyzed study we make when
we paint an area. When painting, we
become more aware of details than
we would be if we were viewing them
in the context of the whole vista.
I often squint at a scene and won’t
start painting until I’ve worked out a
basic plan for how the washes may fit
together. I seek out the lightest areas
and make a mental note that these
must be placed at their full strength
in the first overall wash, while hinting
at the darks. I take some time to
appraise the mid-ground, because
this is often the busiest area, wash-
wise, and I need to get as much first
wash applied as possible.
If I’m on form, this planning will be
complete by the time I’ve set up my
painting gear, and then I’m eagerly
away, starting to paint. At other
times, I’ll stand or sit patiently,
waiting for a solution to arrive.
Sometimes the rain or an angry
farmer will arrive sooner, and the
hunt is over before it has begun.
Generally, the whole process takes
about 90 minutes. Any longer, and
the sun will have traveled too far in
the sky, or the weather will have
changed, and the “feel” of the scene
will be gone. On very flat days, more
I do this, because the risk of lifting and TOP time could be spent, but personally,
muddying the second wash is a fright- The painting after the first wash. I think that this leads to overworking,
ening prospect this late in the process. and the energy that’s so important in
ABOVE outdoor painting is lost.
We should always follow the “big Cottage Corner (watercolor on
shapes irst” principle when painting. paper, 9x6), with second and
If these shapes work, then they’ll set detail washes added.
the atmosphere, and adding the details
will be like icing a well-made cake. Turn for a demo
demo
The Sketch
Creating this sketch of a Tuscan village allows
me to plan the painting. It’s a composite sketch;
the olive trees were actually located on the
other side of the road, but I moved them in front
of the village to replace the bare earth.
The First Wash

I begin by dampening the paper and putting in a “ghost
wash” from top to bottom. The shapes don’t run wild;
they’re placed using paint that varies in viscosity from
medium to rich. With the exception of the sky, I never
use paint that’s so thin that it would form a bead if it
were placed on dry paper. I require stronger, richer
marks for the land shapes; thin, watery paint will never
achieve this. I apply paint using thicker consistencies
toward the bottom of the paper to bring this area
forward and to establish an illusion of aerial recession.
I complete this within the drying time of the paper.
The Second Wash,

Part 1
Once the paper is completely dry, I apply the second
washes. Because they’re being placed on dry paper,
a bead of color is necessary. My priorities at this time
are to get the correct tone and color of each second
wash right the first time, thus avoiding corrections
involving a third wash. If it’s impossible to avoid
placing a second wash next to another second wash,
I make the tone of each as different as possible.
Next, I add distant shapes behind the roofs. The
purpose of this shape is to show the light on the
roofs. After this wash is dry, I work a second wash
over the tower and run it down through the building
walls. Its purpose is to show the light on the roofs
and the light tops of the trees.

The Second Wash,
Part 2
Once the paper is dry, I dampen the
treetops with clean water and then place
a second wash over the trees. This makes
the area appear to drift back to the first
wash before it reaches the treetops. This is
how I get light rims around the treetops.
The Detail Wash

With the atmosphere of the scene established
via the big washes, I make these shapes more
“readable” and interesting by adding detail
such as cypress trees, chimneys and posts.
They add to the richness of Tuscan Village
(watercolor on paper, 10x14). WA
This text is excerpted

with permission from
Pure Watercolour Peter Cronin (petercronin.org) is a South Wales-based artist
Painting (Search who works in watercolor and oil. He’s a member of he Royal
Press, 2018) by Peter Society of Marine Artists, the Royal Watercolour Society
Cronin. Available at of Wales and the Pure Watercolour Society.
searchpressusa.com
or from your favorite
bookseller.
Burning Question
If you could visit

any art museum in
the world, which
would it be?
Iain Stewart
I’d have to say the Library in the
Glasgow School of Art designed
by Charles Rennie Mackintosh.
This building is close to my heart
as a Glaswegian and as a lover
of the Art Nouveau movement.
VAN GOGH MUSEUM PHOTO: JAN-KEES STEENMAN; PHOTO OF MUSEU NACIONAL DE ACUARELA ALFREDO GUATI ROJO COURTESY OF MUSEUM.
A visit to the school was always
a part of any time I spent in
Glasgow, and I’ve sketched the
building many times. Sadly, the
library and its contents—
SALVADOR DALÍ MUSEUM, INC., ST. PETERSBURG, FL.; MUSÉE D’ORSAY BY SHANNA BAKER/GETTY IMAGES ©2018;
collections, furniture, paintings
and murals—were destroyed in
a 2014 fire. It’s a great loss, and
I wept when I heard the news.
Though the firefighters were able If I have to choose one, I’d say the Musée d’Orsay in
to save 90 percent of the building Paris, as it is such a treat to visit. I like the building itself.
and some of the contents—bits of Housed in a former train station, it has an intimate
light fixtures, some of the rare scale and a great location across the river from the
books, a few collections, parts of Louvre. The inspiring artwork includes a nice collection
the main clock—the true treasure of Van Gogh, Daumier, Cézanne, Monet and Manet,
was lost. Although a renovation among others. I always make an effort to get there
has begun, it, too, suffered a fire whenever I’m in Paris and then spend hours soaking in
this past summer. This just the masterpieces. A visit isn’t complete without a break
reminds me: Never take anything at the Café Campana. This spot, which was designed by
for granted—be it time with the famous Brazilian Campana brothers, inspires my
loved ones, stopping to take in imagination. I don’t leave before taking a few photos of
a view properly or saying “I’ll do the amazing restaurant interior. The dazzling chandeliers
it tomorrow.” and the painted, gilded ceilings leave me breathless.

Jean Grastorf
After the joys of traveling and museum-hopping
all over, it’s funny that I'd choose a museum in my
own hometown of St. Petersburg, Fla. Our
Salvador Dalí Museum, which opened in 1982,
houses a collection of more than 2,100 of the
artist’s paintings, sculptures, photos, prints,
drawings and manuscripts, which were collected
by Reynolds and Eleanor Morse, close friends of
Gala and Salvador Dalí. A new building, designed
by architect Yann Weymouth, opened in 2011. It’s
an homage to Dalí’s love of spirals and features a
helical staircase. An intriguing geodetic “bubble,”
comprised of 1,062 pieces of glass, stands 75 feet
above ground and bursts from the museum
walls. Admirers of Surrealism and the avant
garde will also appreciate the museum’s special
exhibits of Dalí’s contemporaries.
Ratindra Das
After a short visit to Arles and Saint
Rémy, in France, I became touched by
the work and life of Vincent van Gogh.
I read his letters to his brother, Theo, and
soon after saw the film “Loving Vincent,”
all of which added to my fascination.
Then, strangely enough, I discovered
amidst my clutter a copy of The Artist’s
Magazine from September 2000, which
features van Gogh’s Olive Trees on the
cover. It came alive. It must have been My favorite museum is Museo Nacional de
in my subconscious mind. That’s when Acuarela Alfredo Guati Rojo (The Alfredo Guati
I determined that I must visit the Van Rojo National Museum of Watercolor) in a quiet
Gogh Museum in Amsterdam someday. corner of the Coyoacán district in Mexico City.
Visitors are treated to a collection of watercolor
paintings from Mexico and beyond in a lovely
house surrounded by lush greenery. The core of its
impressive collection was donated by the Mexican
artist Alfredo Guati Rojo, who was instrumental in
promoting and advancing the status of watercolor
in Mexican art history. It’s significant to note that
the museum is one of the few in the world
dedicated specifically to the watercolor medium.
artist’s marketplace
6LQFH
³3UHPLHU 'HVWLQDWLRQ :RUNVKRSV´
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.DUO\Q +ROPDQ &UXLVH:RUNVKRS Diane Moore (760) 485-6798
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+HUPDQ 3HNHO 0DU\ :K\WH DEADLINE: NOVEMBER 9, 2018
Mid-Southern Watercolorists 49th Annual Juried
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BBBBBBBBBBBBB )UDQFH *UHHQYLOOH 6& Exhibition, April 12 - July 7, 2019 at the Historic Arkansas
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ZZZDUWLQWKHPRXQWDLQVFRP 11/9-11/11/18, Huntsville. Lian Quan Zhen, Watercolor Painting:
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Complete 4 Day ARIZONA
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Blick Art Materials ................................................. BC Contact: 888/954-4442 or 928/282-3809
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AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL
F+W............................................. 5, 8, 16, 58, 59, 61, 71 POST PROPOSED DATES FOR UPCOMING CLASSES.
11/5-11/7/18, Sedona. Sedona Arts Center.
Fort Myers Beach Art Association.......................... 7 5/6-5/8/19 and 11/4-11/6/19, Sedona. Sedona Arts Center.
Contact: Jennifer, 928/282-3809
General Pencil ...........................................................5 Eric Wiegardt, AWS-DF, NWS
3/4-3/8/19, Scottsdale. Wiegardt’s Painterly Watercolors.
Hudson River Valley ...............................................70 Contact: Scottsdale Artists’ School, Trudy Hays, 480/990-1422
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Jan Sitts ................................................................... 69 Art In The Mountains
4/24-4/26/19 and 4/28-4/30/19, Santa Barbara (moved from
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and Video Clips of these artists North Valley Art League.
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Chris Unwin, NWS canteringreader@gmail.com or nval.org
Nita Engle, AWS The Teaching Company ......................................... 17 10/4-10/7/18, Arroyo Grande. Robert Burridge Studio Mentor
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Contact: Kate@RobertBurridge.com

Jeanne Carbonetti
Jan Sitts
Expanded Website Mixed Media
Featuring Sales Gallery Workshops
for Watercolor Paintings
Store for
Weeklong classes in painting,
Books, DVDs & Prints drawing, mixed media and more.
Texture, Color Feeling
www.crowhillgallery.com JOHN C. CAMPBELL FOLK SCHOOL Book available
802-875-3763 folkschool.org 1-800-FOLK-SCH
BRASSTOWN NORTH CAROLINA jan@jansitts.com  www.jansitts.com
10/24-10/28/18, Arroyo Grande. Robert Burridge 5-Day 2/28/19, Mary Klunk, Portrait Made Easy. 9:30-3:30 pm. 5/19-5/25/19, Robert Burridge.
Instructional Studio Workshop. 5-day Workshop in Bob’s Member $55/Non-member $60. 5/29-6/2/19, Emilie Lee.
Studio (Wednesday-Sunday). 3/4/19, 3/11/19, 3/18/19, 3/25/19, Cheryl Fausel, Beginner-level 6/2-6/8/19, Jane Davies.
Contact: Kate@RobertBurridge.com Watercolor. (4 Monday mornings). Class series 9 am to Noon. 6/9-6/15/19, Leah Lopez.
Coachella Valley Watercolor Society Member $100/Non-member $120. 6/23-6/29/19, Paul Leveille.
1/15-1/18/19, Paul Jackson. 3/4/19, 3/11/19, 3/18/19, 3/25/19, Cheryl Fausel, Intermediate- 6/30-7/6/19, Michael Solovyev.
2/12-2/15/19, Jean Hanes. Advanced Watercolor. (4 Monday afternoons). Class series 7/7-7/13/19, Debora Stewart.
3/12-3/15/19, Ward Stroud. 1 pm - 4 pm. Member $100/Non-member $120. 7/14-7/20/19, Kim English.
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COLORADO 3/28-3/29/19, Lynne Wesolowski, Gelli Plate Mono Print/mixed NORTH CAROLINA
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Intensive Color and Watermedia Workshop. Quiller Gallery. Contact: 239/463-3909 Journaling. $354.
Contact: Marta Quiller, 719/658-2741 www.fortmyersbeachart.com/classes.php 8/26-9/1/18, Betty Brown, Intermediate Watercolor. $630.
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Jan Sitts Contact: John C. Campbell Folk School
Contact: Robin Christensen, 719/658-2202 2/18-2/21/19, Punta Gorda. Visual Arts Center. Brasstown, NC 800-FOLK-SCH or www.folkschool.org
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Jan Sitts Kanuga Watermedia Workshops
HAWAII 3/30-4/5/19, Hendersonville. Held at the Kanuga Conference
June or July 2019, Gunnison Art Center. Dates TBA. Center in the Blue Ridge Mountains of North Carolina, we
Stephen Quiller
FLORIDA offer 5 full days of instruction featuring 12 award-winning
4/8-4/12/19, Hawaii Watercolor Society.
instructors. Painting is always a learning experience. Our
Jaimie Cordero Contact: Anita Bruce, anitab@hawaii.rr.com
goal is to help painters sharpen their critical awareness and
10/2/18, Bradenton. “Split Primary Color Mixing, Spraying & Eric Wiegardt, AWS-DF, NWS discover painting gratification. Class sizes range from 12 to
Glazing”. 1/20-1/27/19, Lahaina, Maui. a maximum of 24 students, and each student selects one
10/3/18, Bradenton. “Expressive Painting to Music”. Maui Watercolor Plein Air Workshop. instructor for the entire week. We also have Independent
Keeton’s Office & Art Supply. Contact: Wiegardt Studio Gallery, 360/665-5976 Studios for those who wish to paint on their own. Meals and
Contact: 800/833-4735 watercolors@ericwiegardt.com lodging are included. (Commuter option available.)
Fort Myers Beach Art Association and Gallery INDIANA Contact: 615/202-0281, KanugaWW@gmail.com or
Contact: 239/463-3909 www.kanugawatermediaworkshops.com
www.fortmyersbeachart.com/classes.php Art In The Mountains
Tom Lynch
11/5/18, 11/19/18, 11/26/18, 12/3/18, 12/10/18, 12/17/18, Cheryl 9/13-9/15/18, Indianapolis. Mary Whyte, The Portrait and
11/8-11/10/18, Raleigh.
Fausel, Beginner-level Watercolor. (6 Monday mornings). The Figure. Watercolor - studio. All levels welcome.
Contact: 630/851-2652
Class Series 9 am to Noon. Member $150/Non-member $180. Contact: Tracy Culbertson, 503/930-4572
Tomlynch@msn.com or www.TomLynch.com
11/5/18, 11/19/18, 11/26/18, 12/3/18, 12/10/18, 12/17/18, Cheryl info@artinthemountains.com or
Fausel, Intermediate to Advanced Watercolor. (6 Monday www.artinthemountains.com OHIO
afternoons). Class series 1 pm - 4 pm. Member $150/ MICHIGAN Tom Lynch
Non-member $180. 10/17-10/20/18, Beavercreek.
11/11/18, Kathy Durdin, Demo. 4-6 pm. $10 fee. Tom Lynch
Contact: 630/851-2652
11/12-11/15/18, Kathy Durdin, Loosening Up & Seeing Color 7/17-7/20/19, Lowell.
Everywhere. Famous Artist Workshop. Watercolor Workshop. Contact: 630/851-2652
Fee: Member $275/Non-member $315. Tomlynch@msn.com or www.TomLynch.com OREGON
1/3-1/5/19, Cheryl Fausel, Having Fun with Watercolor. Chris Unwin Art In The Mountains
Member $190/Non-member $205. Watercolor Workshop Weekly on Wednesdays. 8/20-8/24/18, Bend. Lian Quan Zhen, East Meets West.
1/7/19, 1/21/19, 1/28/19, 2/4/19, 2/18/19, 2/25/19, Cheryl Fausel, West Bloomfield, MI 48322 Watercolor - studio. All levels welcome.
Beginner-level Watercolor. (6 Monday mornings). Class Series Contact: Chris Unwin, 248/624-4902 8/27-8/31/18, Bend. Ward Jene Stroud, Brusho and Beyond.
9 am to Noon. Member $150/Non-member $180. ChrisUnwin@att.net or www.ChrisUnwin.net Watercolor - studio. All levels welcome.
1/7/19, 1/21/19, 1/28/19, 2/4/19, 2/18/19, 2/25/19, Cheryl 7/29-8/2/19 and 8/5-8/9/19, Bend. Herman Pekel, Be Brave
Fausel, Intermediate to Advanced Watercolor. (6 Monday NEVADA and Have Fun. Studio and plein air- watercolor. All levels
afternoons). Class series 1 pm - 4 pm. Member $150/ Tom Lynch welcome.
Non-member $180. 8/13-8/19/19, Reno. 8/12-8/16/19, Bend. Iain Stewart, Sketchbook to Studio.
1/13/19, Sally Cooper, Demo, 4 pm-6 pm. $10 fee. Contact: 630/851-2652 Watercolor - studio. All levels welcome.
1/14-1/17/19, Sally Cooper, Famous Artist Workshop Mixed Tomlynch@msn.com or www.TomLynch.com 8/19-8/23/19, Bend. Chinmaya Panda, Portrait and Figure in
Media, Creative Abstract. Member $375/Non-member $420. Watercolor. Watercolor - studio. All levels welcome.
1/18/19, Lynne Wesolowski, One Day Scarf Class. 9-3 pm. NEW YORK 8/26-8/30/19, Bend. Michael Reardon, Watercolor
Member $50/Non-member $55 + $10 supply fee. Hudson River Valley Art Workshops Techniques. Watercolor - studio. All levels welcome - some
1/24-1/25/19, Sue Pink, Collage. 9 am-3 pm (2 days). 9/2-9/8/18, Self-Directed Retreat. experience helpful.
Member $120/Non-member $130. 9/9-9/15/18, Lorenzo Chavez. Contact: Tracy Culbertson, 503/930-4572
2/1/19, Sue Pink, Watercolor Batik. 9-3 pm. Watercolor. 9/16-9/22/18, Judi Betts. info@artinthemountains.com or
All Levels. Member $60/Non-member $65. 9/23-9/29/18, Henry Yan. www.artinthemountains.com
2/10/19, Sharon G Tarr, Demo. 4 pm - 6 pm. $10 fee. 9/30-10/6/18, Skip Lawrence.
2/11-2/14/19, Sharon G Tarr, Famous Artist Workshop, 3/17-3/23/19, Kellee Wynne Conrad. SOUTH CAROLINA
Oil Painting Fundamentals Made Clear and Easy. 3/27-3/31/19, Patti Mollica. Art In The Mountains
Member $350/Non-member $390. 3/31-4/6/19, Alain Picard. 7/9-7/11/19, Greenville. Mary Whyte, Painting the Portrait and
2/15-2/16/19, Lynne Wesolowski, Alcohol Inks. 9-3 pm. 4/10-4/14/19, Alvaro Castagnet. the Figure. Watercolor - studio. All levels welcome.
Member $100/Non-member $110 + $10 supply fee. 4/14-4/18/19, Howard Rose. Contact: Tracy Culbertson, 503/930-4572
2/21/19, Mary Klunk, Basic Drawing. 9:30-3:30 pm. 5/5-5/11/19, Koo Schadler. info@artinthemountains.com or
Member $55/Non-member $60. 5/15-5/19/19, Barbara Nechis. www.artinthemountains.com
artist’s marketplace
TEXAS
Robert Burridge
9/11-9/13/18, Dallas. Abstract Acrylic Painting & Collage.
Southwestern Watercolor Society.
Contact: Lou Bono, 469/744-7559
LouBono5@gmail.com or www.swswatercolor.org
Tom Lynch
9/6-9/9/18, New Braunfels.
Tomlynch@msn.com 630-851-2652 9/9-9/13/19, Stephenville.
www.tomlynch.com Contact: 630/851-2652
2018-19 WORKSHOPS Jan Sitts
10/9-10/12/18, Lake Granbury. Lake Granbury Art Association.
September 6 – 9 New Braunfels, TX Contact: Diana, 817/326-5629 or 817/578-1842
2019, Flower Mound. Dates TBA.
September 25 – 28 Clarkston, WA Contact: Anita@studioarthouse.com
October 17 – 20 Beavercreek, OH VERMONT
November 8 – 10 Raleigh, NC Eric Wiegardt, AWS-DF, NWS
10/15-10/18/18, Landgrove.
January 7 – 10 Boynton Beach, FL Wiegardt’s Painterly Watercolors.
Contact: vtinn@sover.net or
January 25 – 27 Indian Rocks Beach, FL artworkshopsatthelandgroveinn.com
February 9 – 16 Puerto Vallarta, Mexico WASHINGTON
March 5 – 8 Punta Gorda, FL Tom Lynch
9/25-9/28/18, Clarkston.
July 17 – 20 Lowell, MI Contact: 630/851-2652
August 13 – 19 Reno, NV Jan Sitts
September 9 – 13 Stephenville, TX 9/6-9/9/18, Coupeville.
Contact: Lisa, 360/678-7420
Pacific NorthWest Art School.
Available For Workshops In Your Area Eric Wiegardt, AWS-DF, NWS
11/4-11/8/18, Puyallup. Wiegardt’s Painterly Watercolors.
Contact: South Hill Artists - Karen St. Clair, 206/919-1553
khs8012@msn.com
WEST VIRGINIA
Jaimie Cordero
11/2-11/4/18, Hedgesville. 3-Day “Fall Colors Landscape
Workshop”. Photography, Plein Air Sketching, Landscape
Composition, Color Combining to create more dynamic
paintings.
Contact: WDJaimieC@aol.com
Visit www.ArtAcademyLive.com
Your Online Source For WISCONSIN
Jan Sitts
Art Instruction 24/7 9/9-9/12/19, Lac du Flambeau. Dillmans Creative Art Retreat.
Contact: Sue
INTERNATIONAL
HUDSON RIVER VALLEY AUSTRALIA
Art In The Mountains
ART WORKSHOPS 1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New
Caledonia and Gold Coast Australia Cruise/workshop.
Learning, Laughter, Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com or
and Friendships in an www.artinthemountains.com
Inspiring, & Inviting CANADA
Environment Robert Burridge
8/27-8/31/18, Murray Harbour, Prince Edward Island.
Abstract Acrylic Painting & Collage. 5-day Painting Workshop
(Monday-Friday). Out of Our Minds Gallery.
Call Toll-Free 1-888-665-0044 Contact: Sandi Komst, 902/962-3612
outofourmindsgallery.com
Mel Stabin Aug 5-11, 2018 10/15-10/19/18, Vancouver Island, British Columbia.
Loosen Up with Aquamedia Painting. 5-day Painting
Self-Directed Retreat Sep 2-8, 2018 Workshop (Monday-Friday). Vancouver Island Art Workshops.
Lorenzo Chavez Sep 9-15, 2018 Contact: Mary, 250/714-8080
info@vancouverislandartworkshops.com or
Judi Betts Sep 16-22, 2018 www.vancouverislandartworkshops.com
Henry Yan Sep 23-29, 2018 EUROPE
Skip Lawrence Sep 30-Oct 6, 2018 Art In The Mountains
ROBERT BURRIDGE Kellee Wynne Conrad Mar 17-23, 2019 10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to
New Orleans. Painting days are ‘at sea’ days only.
Patti Mollica Mar 27-31, 2019
• Burridge Studio App Alain Picard Mar 31-Apr 6, 2019
www.artinthemountains.com
Alvaro Castagnet Apr 10-14, 2019
• Free Online Newsletter Howard Rose Apr 14-18, 2019 FRANCE
Art In The Mountains
• Free Weekly BobBlast Koo Schadler May 5-11, 2019 6/10-6/14/19, Paris. Herman Pekel, watercolor- plein air -
intermediate to advanced.
Barbara Nechis May 15-19, 2019
• Current Workshop Schedule Robert Burridge May 19-25, 2019
Emilie Lee May 29-Jun 2, 2019 www.artinthemountains.com
• Workshops in Bob's Studio Jane Davies Jun 2-8, 2019 GERMANY
Leah Lopez Jun 9-15, 2019 Eric Wiegardt, AWS-DF, NWS
9/15-9/29/18, Lake Constance, Friedrichshafen.
Paul Leveille Jun 23-29, 2019 Plein Air Workshop.
Michael Solovyev Jun 30-Jul 6, 2019 Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com
Debora Stewart Jul 7-13, 2019
MEXICO
Kim English Jul 14-20, 2019 Tom Lynch
2/9-2/16/19, Puerto Vallarta.
RobertBurridge.com artworkshops.com Contact: 630/851-2652

Live an Artful Life
From meditations in the studio to trending colors, urban sketchers and Renaissance
masters, Artists Network connects you with the artists, ideas, inspiration, and skills
that encourage art making and living an artful life.
Artistsnetwork.com
Open Book
Arctic Antics
During his Arctic expeditions, artist David Bellamy
(davidbellamy.co.uk) has been able to record some
incredible moments, such as this montage of a female
polar bear, worked up from several original sketches.
“The bear dove into a fjord, swam to a small islet and
then produced an amazing performance of drying
herself by rubbing her chin and her back in the snow,”
says Bellamy. “Once dry, she began chasing birds and
eating their eggs, all against the dramatic backdrop of
glacier scenery. We were quite close, in a small boat,
so I was able to capture much detail. At times she
posed statuesquely for ages. Eventually, after all
the excitement, she fell asleep.”
YOUR TURN!
Share a sketch that captures animal behavior.
@ArtistsNetwork on Instagram: #everywatercolor_animals
“OPEN BOOK”
S P O N S O R E D BY

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