10 Artists 5 Steps to Creating | Handy Plein Air CEC OR UES) You Should Know | a Path of Light CEM PUM et nC eer ees [woa Geter a ‘are ideal for both students and experienced Broome en) Cc eerie ees tube for deep, intense color, mixed with rae eg ‘Available in sets of 12 and 24 highly pigmented, brilliant colors. Prorat Bao aCe’ unlimited freedom to switch from drawing to painting in an instant. Extremely vibrant colors are soft and easy to blend. see te es oor nervy in sets of 12 and 24 brilliant colors. Certified AP non-toxic by the Art een tiie Bata Sa Pe aS Tn ALTEDecember 2015 Features 18 A Penchant for Plein Air Mike Kowalski uses space and light to organize complex scenes on site, 26 A Brush With Life Bold strokes and clean color add verve and vitality to Stephen Zhang's portraits of everyday people. 34 Imaginary Worlds David Brayne creates rich texture and drama with raw pigments, metal leaf, and acrylic mediums. BY KEN GOFTON 42 Ones to Watch ‘op jurors and instructors introduce 10 breakout artists and reveal what makes their work so special columns 10 Creativity Workshop Discover the six keys to composing a perfect stil life setup. Bea eae 14 Meet the Masters Join Eric Ravilious for a quirky look at the English experience. 54 Watercolor Essentials Create a path of light through your composition in five easy steps. aa Tans d Preencny Fe cee ne eid Perens lestanele ted | Bacomer 2018 4— Hature, Texproved”™ ‘© Animal fendly construction ‘ Perfect for watercolors, defined brushstrokes & creating fine details ‘High elastoty & shape retention! Pat ee Fatal Yalta cine errerneenr ety Use Keyword MIMIKKOLINSKY www jerrysartarama.com editor’s note DECEMBER 2015 FM 651, South of Crosbyton, Texas (vaterslor on paper, 10x14) by Tim Olver his issue's cover artist, Tim Oliver, has been named one of our 2015 Ones to Watch (on page 42), Recommended by premier workshop instructors and exhibition jurors, nominees for tis honor have proven they've got what it takes to make their unique marks on watercolor painting, Award-winning artist lain Stewart nominated Oliver and had this to say about his work: ‘As a recorder of, one's surroundings, i's often easy to push the experience beyond what's needed in any particular work. Tim's paintings hit that sweet spot between too little and overworked. His control, estraint and painterly approach, combined with his eagerness to move his painting forward, is something I enjoy immensely.” Oliver and the other artists featured this year share the trials and triumphs that got them to this point on their artistic paths. As a bonus, the nominating jurors and instructors reveal the qualities that captured their attention. Take inspiration from their insights—and perhaps you'll find yourself on these pages next year. (For more ideas, instruction and inspiration, consult our 2015 article index for any stories you might have missed at artistsnetwork.com/medium/ watercolor/watercolor-artist-2015-article-index) “Hetty Have Looking for help with your subscription or other reader services? Connect with us at artistsnetwork.com/watercolor- artist/watercolor-artist-reader-services, or email us at weamag@fwcommunity.com,Weletecler artist Editorin-Chi Kelly Kane Hand-made watercolors created from historic and modern pigments using mixing techniques derived from classical recipes. nye PIGMENTE Grafix Incredible Art Products 119/592222, weamegetwcommuniy.com yet by Cat chen co Cone 0 by Fo ae ‘gi eseFeatured artists David Brayne davidbrayne.wordpress.com British artist David Brayne (page 34) studied at Nottingham School of Art and Exoter University ater taking a variety of jobs tat allowed him time to paint His breakthrough came when a painting he'd {entered for the Royal Academy summer show not only sold, but received much favorable comment He's an elected member ofthe Royal Watercolour Society and won its prestigious Turner Meda for Watercolour at the seciety’s 2018 spring exibition. Mike Kowalski mikekowalskifineart.com Mike Kowalski (page 18) studied art at Humbolat State University, {Long Beach State University and Utah State University, He bogan his caroer as an illusteator and later specialized in architectural ilustea- tion, a profession he believes enhanced his skill and gave him a sure knowledge of perspective. He made the transition to fine art, exhibit- Ing his work widely and garnering many awards, including a Siver Medal of Honor in the 2015 American Watercolor Society exhibition, Linda Erfle lindaerfle.net Stephen Zhang stephenzhangart.com Born in China, Stephen Zhang (page 26) raduated from Lusun Academy of Fine At, land subsequently became a teacher there He later moved to the Unted States to attend the University of North Texas, where he feared an MEA. in communication desig. His work has been displayed in prominent ‘exhibitions in China, the US. and Japan Ccalfomia-based arta Linda Efe (page 10) texplores the essence of her aubjact tough ‘the unifying elements of value, shape, edges and cola, striving to convey the extaora in the ordinary ina representational style ‘She's a signature member of the National ‘Watercolor Society and has been featured im exhibitions and numerous publications Thomas W. Schaller thomasschaller.com Thomas W. Schallar (page 54) i en award winning and highly acelaimed artist, author land architect, His work scalected and ry exhibited around the world, end his work shop series, “Architecture of Ligh fin demand. A signature member of number of societies, he has released a video series at DrtistsNetworkt and i wring his thie BookMix fire and water. The best thing about watercolors their simplicity; very jttie stands between artist and pigment. Because QR Watercolors are made with a revolutionary new binder called Aquazo!’ there Is even less standing between you and the biiliant color pigments present. QOR offers superior Clarity and intensity, while retaining the subtlety and beauty you expect from watercolors, Gok isnot just new, itis modem watercolor Ask yourneores! rt supp etal abou! QoRcolors.com ACHIEVE TALENT Learn to draw, design and paint very well. With the Barnstone Studios DVDs, you can lear the techniques used by master artists lke Da Vinci and Michelangelo. These devices can improve your work by providing an understanding of ‘geometric design that isn’t available through other art instruction, ‘Study under the instruction of Myron Barnstone, an internationally renowned artist, instructor and founder of the acclaimed Barnstone Studios art school. The Barnstone Studios complete set of DVDs collectively represent four years of university art training. Learn from a lifetime of Myron Barnstone's research and experience in teaching foundation drawing and painting, pictorial ‘composition, color theory, and advanced figure drawing systems, It’s time you discovered the Barnstone method! Se (CATER ENC Seremaking Sy Art for the Holidays he holidays can be hectic, so getting to the studio regularly can bea challenge. But that doesn’t mean you have to put inspira on hold until the new year. Here are three ideas for staying in touch with your ar tic passion all season— whether you've got § minutes, an hour or a long weekend, ‘Scholars and fans of Henri Matisse will want to get their hands on Matisse in the Barnes Foundation, a three-volume, slip-cased book series featuring reproductions of $9 works from every point of the artist’s ob a The royal famiy’s artistic gene extends to Sarah Armstrong-Jones (abov career, Perfect for a quick browse or more in-depth study, it includes the story of The Dance, the mural that Albert Barnes—modern art collector and owner of the most Matisses in ‘America—commissioned for his man- sion’s two-story picture gallery, and the piece that is said to have had a lasting impact onghea output. Edited by Yye /AleiniBolsh ai historian at the InstithtevenAd vanced. Study, in Princeton, NJ, the volumes include essays by Bois and other noted art historians, curators, scholars, conservators and scientists. $275, thamesandhudsonusa.com ‘Those who missed the film that originally aired on PBS, Royal Paintbox, now have the luxury of watching it on demand. The 60-minute film examines the British mgnarchy's artistic gene that dates back t9 Mary Queen of Scots and her ‘talent Zor “mb aidéry and.cxtends to The Pris@@ of Wales and his water colors. Prince Charles’ paintings areWatercolor News & Views "The artist is nothing without the gift, but the gift is nothing without work? Richard Diebenkorn’s sketchbook contain: ing Untitled (fl tip marker ink on paper) i on display at Stanford Universi Storemags ‘as The Duke of Edinburgh, Quedi Victoria, Prince Albert, King George justwhat the doctor ordered Do art aficionados make better doctors? Thanks to the program that art historian Amy Herman envisioned, they just might. The Art of Perception is a training seminar that focuses on sharpening observation and ‘communication skills through viewing works of art. Participants are encouraged to voice what they see in a picture—and what they don't— without using the words “obviously” or “clearly.” "Multiple perspectives make for more informed decision-making,” says Herman, “and discussing others’ perceptions of works of art seems to facilitate this process.” Herman began the program in 2000—at the time, she was head of education at The Frick Collection—for medical students, with hopes of molding them to be more aware of their clients, and not their clients’ charts. By 2008, it had picked up enough steam, serving law enforcers, educators and financiers, that she left The Frick to devote her time to the seminar. Her book, Visual Intelligence (Houghton Mifflin Harcourt), comes out in May. aop.artfulperception.com II, Prince Louis of Battenberg and. Sarah Armstrong-Jones, daughter of Princess Margaret, $19.99; Foxtrot Films Ltd; shoppbs.org Got time for a road trip? The Cantor Arts Center at Stanford University offers the opportunity to get up close and personal with 29 sketchbooks of Richard Diebenkorn— and view an early painting by Edward Hopper. The impetus for the exhibition came from Diebenkorn's enthusiasm for Hopper's work, which stemmed from his studies at Stanford and lingered throughout his career. ‘As he put it, “I embraced Hopper completely....It was his use of light and shade and the atmosphere... kind of drenched, saturated with mood, and its kind of austerity. It was the kind of work that just seemed made for me. {looked at it, and it was mine.” Richard Diebenkorn: The Sketchbooks Revealed includes 41,045 drawings that can be perused digitally, and in order. Hopper's painting, New York Corner (1913; oil on canvas), marks a pivotal moment in his career, Painted when the artist was 31, its considered the first work ‘made in Hopper's representative style. The painting and sketchbooks are on display through February 8. museumstanford.edu @ ltenabe tut | Dacombas 2018 7SPECIAL PROMO SECTION Artist Spotlight Jan Sitts Jan wil be teaching some unique and exciting mixed media painting Workshops in 2016. Marco sland Center For The Arts February 16-19, Kanuga Watermedia Workstiops April3-7, Sedona Art Center May 9-12 & November 3-6, and Dilman’s Bay Resort, Wisconsin - September 12-15, For more information, please vst: wwwwansitts.com Suzanna Winton Author of Realistic Watercolor Portraits Internationally known instructor and Award Suzanna Winton is a member ofthe National Watercolor Society. She is known for her Portrait, Animal, & Floral Paintings. For mote information, please vist: www/suzannawintonwatercolors.com or to schedule @ workstiop contact her at wintonsa@aol.com Anne Abgott, AWS NWS Author of Daring Color ‘Anne teaches workshops all over the United States and Canada. Her workshop and class schedule can be found on her web site Anne competes in local and national exhibits, winning many awards along the way. She isa signature member ofthe AWS, ‘National Watercolor Society Florida Watercolor Society, Niagara Frontier Watercolor Society as well asthe Philadelphia Watercolor Society. For more information, please vist: wwwanneabgott.com. Georgia Mansur aching worktops 2016 ~ Stunning Locations and inspirational Teaching BOOK NOW! New Zealand February 26 March 6, Carmel, CA Apri 22-25, Plein air Convention Faculty Tucson, Az Apri 1520, Seattle, Daniel Smith Stores May 7-14 (workshop & demos) Norfolk sian, Australia June 10-17, Provence, France August 1-8, Ceres, France August 15-18, imoux, France Montfaucon August 20:0, croatia September 1-10 For more informatio, please vis: www-georglamansur.com/workshops of email: georgia@georgiamansur.com The Barnstone StudiosSPECIAL PROMO SECTION Artist Spotlight Flying Colors Art Workshops We've been creating travel memories for over 25 years At yng Colors, te secialzs in orgariang ana hosting rt workshops around the wo We concentrate on proving workshop participants wth the finest Insuctors and we work hart arrange a vary of peca rvel jestnatons designed to enhance your exgerence with us For more information, lees vist www.FyingColorsart.com Birgit O'Connor Author of Watercolor in Motion and Watercolor Essentials SSAVE 15% TODAY On Alsteeming Programs and DVDs Use Code: Holidays... Offer expres December 3, 2015, Be sure to checkout my New DVDS. ror mot formation vst. wwbirglteconnorcom Tony van Hasselt, AWS Mexican Workshop, February 20-27, 2016 At Casa de los Artistas, Robert Masia Studios South. Discover ou tropical hing vllage near Puerto Valera Enjoy painting excursion, sketching on sunny beaches, demonstrations and personal assistance AlLinclusve, no single supplement charge Detals on hs and oterWworksoos at ww. ArtWorkshopVacations.com Robert O’Brien Award winning watercolrist and popular workshop instructor, Robert O'Brien, AWS [NWS wil be returning to France in 2016 for a weekiong plein at workshop at Bastide Avellanne located in the heart of Provence. Dates are lune 27 —luty 4, 2016, For more information, please vist: www.robertjobrien.com David Savellano May 2.9, 2016, Travel Sketching and Plein Air Painting in ‘Spain, The Costa Brava and Barcelona by tour operator French Escapade. Combine art and travel o the picturesque fishing vilage of Calella de Palafrugell wath a wonderful Mediterranean beachfront hotel For more information, please vist www frenchescapade.com or www.davidsavellano.comcreativity workshop The Perfect Setup Build a successful still life by choosing and placing objects strategically. ‘Sunflowers With Cobalt Gass No. 2 (watercolor on paper, 25) may look Vk ay sere 3 sere simple sil if, but form, color, texture, Iighting and composition are all employed to ‘roduce this strong painting, [ cutycrmlorine tie essence of everyday objects through still life painting, because it allows me to convey how truly extraordinary the ordinary is. 've learned through experimentation that carefully arranged still lifes—ones in which I hhave control of almost everything— put me on the path to successful paintings, Here are some basic ideas and art elements I consider when selecting and arranging objects for a dynamic still life. Personal Attachment: Select items because you like their color, texture or form, or because they hhave some personal meaning to you Your arrangement should appeal to you in some way or help you tell the story you want to share. Form: I's important to consider shape, size and scale when estab. lishing a still life arrangement. Use geometric and organic shapes in tandem to make a painting stronger. In addition, ensure that you have an assortment of different-sized objects, factoring in height, width and depth, for visual impact. Finally, take a look at the scale of the items featured in your still life setup; they need to complement one another proportionally. Color: Color helps to estal the mood and feel of your painting. Choose complementary colors, such ‘as orange and blue, if you want to make a powerful statement; select analogous colors to create a rich, monochromatic look.BY LINDA ERFLE Consider warm and cool colors to create a look that suggests a certain temperature, resulting in a harmoni- ous effect. Rely on value and intensity, whether high or low, for additional impact. Repeat colors, regardless of value or intensity, for cohesiveness throughout the still life. Texture: Texture is a great way to bring a viewer into the scene. Ensure that you have a mix of hard, soft and reflective surfaces, as well as a balance of natural and man-made objects, to stimulate the tactile sense. Lighting: Lighting not only adds ‘mood, but helps to create a sense of depth. {ike to place objects in strong. light that angles in from one side for interesting shadows and a value range from 1 to 10. Composition: While all of the previous considerations are impor- tant, composition is key to a strong still life, It’s critical, for example, to vary distances between items and alternate overlaps to create interest and dimension. Staggering objects by height—and placing them or the tallest items off-center—creates an interesting arrangement. Implementing lost and found edges, in which boundaries of shapes are lost or fused into others, adds additional interest. Likewise, odd-numbered objects add asymmetrical interest, while even-numbered items promote a feeling of equilibrium, or symmetry. Before I settle on a still life arrangement, I consider how my eye moves in, around and through the positioned items, ensuring that there's a clear path, I do this by studying the outline of objects and their correlation to one another, as well as to the background, pees ue TRIES WOU aL se TURNER Artists' Water Colour, The Power of Pigment! + High quality pure pigments & finest gum arabic; no filers used! + Wonderfully transparent, with a selection of both semi-transparent and opaque pigments Check out our best value! ‘Turmer Watercolor Set of 18, SmI Tubes NEW! cat evisu pera Jerry's s2g99 eC RCIC Ukephoto synthesis | usually shoot my still life setups outdoors in the bright morning sunlight. | take an excessive number of pic tures, move things around, swap out items, change the camera angle and take more shots until find the most pleasing arrangement. Looking through the viewfinder or at the LCD screen helps me to frame the borders of my composition. Using a digital camera also affords me the opportunity to easily import the images into a program such as Photoshop. From there, | can manipulate the stl fe composition by cropping, deleting, or making ight and color adjustments. or negative space. consider, for example, which shape would divide negative space more interestingly—a tomato or a pineapple—and adjust as necessary. I also ensure that 've created quiet spaces, simplified and uncluttered, to serve as a resting place for the eye. ‘And, finally, I squint my eyes to view the layout as abstracted shapes. Are the shapes varied and inter- esting? If not, l reposition or swap out items until I've created a pleasing composition. Sometimes, to help see the arrangement from a different vantage point, I find it helpful to do a quick, conceptual sketch. ‘There are many facets to creating a strong and pleasing composition, enough to filla book. One that I find useful is Margot Schulzke’s A Painter's Guide to Design and Composition (North Light Books, 2006). INTRODUCING TWO COMPLETE DOUBLE DVD COURSES BY INTERNATIONALLY ACCLAIMED PAINTER STEPHEN QUILLER COLOR FOUNDATION FOR THE PAINTER 13 Chapters 8 Hours of Viewing Everything an Artist Needs to WATER MEDIA FOUNDATION FOR THE PAINTER Build a Color or Water Media EACH SET $99.50 - WWW.QUILLERGALLERY.COM - 1-800-876-5760nonstration: Composing a Dynamic Still Life I selected this arrangement because liked the way the luminous yellow- orange lemons glowed against the backdrop of cobalt-blue cloth and the way the yellow of the lemons bounced back onto the side of the ppot. The geometric shape of the fabric strengthened the organic forms of the composition. I repeated the pot's circular shape with the handle as well as with the shape and placement of the odd-numbered lemons. ‘To create further interest, 1 trimmed the top and right side of ey romeo ae the pot out of the composition. The distance from the pot in the place- ‘ment of the lemons is varied, and the handle shape overlaps the lemons differently. The negative spaces are of varying sizes and shapes, as are the areas within the pot. Step 1: I first sketched the image on my paper, which I then wet front and back with water, so that it would stick to a waterproof board. I saved the white areas of the paper and then began adding the lightest values. As I painted, the paper began to dry, s0 1 sprayed more water on the board and the back of the painting; this helped ron Catch up on the Creativity Workshop activities you've missed at artistsnetwork.com/articles/ inspiration/creativity/creativity-workshop. Mey ere De Rice tc) Crit eer ary cere eran? eee to keep the surface damp enough to create the desired soft edges. Step 2:1 began adding the darks and some of the details. I also man- aged to create a few lost edges at the intersections of the lemons and on the shadow side of the pot. Step 3: Placing a few brushstrokes of blue and orange on other objects helped to unify the painting Final Step: ! added shadows and finishing touches. When I stood back to view the painting, I noticed that my eye moved in a circular path ‘through Lemons With Copper Pot (above; watercolor on paper, 16x19). @ 4masters The Postry of Everyday Life Eric Ravilious docu E ti teritocs was an cogs artist, illustrator and designer whose working life spanned the years between the two world wars. His career was tragically cut short when ¢ was lost in a plane crash while working as a war artist in 1942. The Dulwich Picture Gallery in London, recently mounted a retrospective of the artist's watercolors, giving the public an opportunity to enjoy the rich invention of his vision, Serenity, Interrupted Ravilious’ watercolors present the visual delights of English life in his era, nding a quiet, elegant poetry in commonplace surroundings and activities. The work plunges us into world of pleasantly domesticated land: apes, interiors rich in pattern and texture, tennis lawns, glass rain trips, fireworks, and seaside outings. But there are some houses, quirks in the vision as well: Ravilious enjoyed including machinery and gadgets in his work, so that other- wise idyllic landscapes might include tractors, farm equipment, trains and, later, curiosities of modern warfare. Most of his paintings are devoid of figures, giving a somewhat alien ated feeling, as though the humans responsible for the place have tiptoed away. This slightly disturbing quality no doubt reflects some influence from the then-nascent Surrealist movement in Europe. Most striking about the water- colors is their severely edited visual language. Forms are simplified or flat- tened, reducing elements to discreet shapes whose edges are delineated ere aoe eet with great sensitivity. The color is usually pale and delicate, giving quiet, unifying harmonies to the work; meanwhile, the texture and pattern. ing of individual elements are given considerable attention. Ravilious typi cally worked with a fairly “starved' brush, a technique in which very litele paint is loaded into the brush, Each area is worked with a different direction of stroke, or with a different stipple or mark of some kind, This usually leaves some of the paper visible between marks. In Train Landscape (opposite), for instance, we're presented with a view from a railway compartment ng out to the South Downs and mous chalk rendering of a horse at Westbury. In the watercolor, Ravilious gives us a sense of the texture and density of every surface. The nap of the seat fabric is achieved by dragging long marks with a nearly dry brush, with the pattern applied over the top, The rough texture of the wooden door is suggested with ‘a cross-hatched mark, while the length of the rolling fields outside is indicated by long, flat brush marks,BY JOHN A. PARKSThe artist's delight in gadgetry is engraving, which had a great effect on revealed in the care with which he Born in London, Ravilious spent his later watercolors, Wood engrav- describes the lock on the door, the _hiis boyhood in Eastbourne on the ers are generally obliged to simplify leather window sash and the grill south coast where his fatherran an drawing in various ways, and often above it, His designer's eye is pres: antiques shop, He retained a lifelong _use stippling and texturing with dif ent in his reworking of the numbers _love of the landscape of the South ferent kinds of cuts to create varieties painted on the door. An understated Downs—with its chalky rolling hills _of density between elements. cts the picture, achieved and their vistas of distant sea. After ighly successful as an illustrator, with the clarity of drawing and the _studying at Eastbourne College Ravilious also designed a number of close color harmony of ochres, soft _—_Art, he attended the Royal College of _decorations for ceramic manufacturer greens and blue-grays. Thenumber Art in London, where he was highly Wedgwood, as well "3" on the door denotes that this is influenced by the teaching of Paul several large mural assignments athird-class compartment, and yet _Nash (1889-1946), whose work com before his death at the age of 39. Ravilious has transformed it into a bined graphic simplification with place of magicand charm. The lean- _ considerable narrative power. PAR 7 ness of technique and design preven Itwas also at the Royal College ti : the work from feeling sentimental. that Ravilious learned the art of wood CARAN D/ACHE LOS SUP Nel Nm An Innovative Approach Geneve Intro Set 0 Sel fre ery: Ca ena ra eam ec EL ace a ea a ao Eee) Rett ee ee) ale soluble with immediate effect. The Cee ene rea uae ea pigment density creates brillant and vibrant xceptional lightfastness. Apply wet or dry.R SHELVES THIS MONTH What's new from North Light Shirley Trevena’s Watercolors By Shirley Trevena With more than 100 paintings featured, Shirley Trevena shares her exciting compositions, unusual perspectives and vibrant color combinations in this retrospective book. Dis- cover her inspiring annotations chronologically on her paint- ings of still lifes, portraits, and abstracts. Get a glimpse into her creative process through studies, color and composition notes, stories, memories, and moments that have shaped this vast body of work in Shirley Trevena's Watercolors, Retail: $2999 Your price: $22.19 $4099 Learn to capture light in watercolor in all your paintings with this new video series from Thomas Schaller! CAPTURING LIGHT In warERcOLOR CAPTURING LIGHT IN WATERCOLOR CAPTURING LIGHT IN WATERCOLOR How to Paint Cities Landscape Painting Figure Painting ‘Thomas W. Schaller Capturing Light in Watercolor: Capturing Light in Watercolor: Capturing Light in Watercolor: How to Paint Cities Landscape Painting Figure Painting 17882 « Retail Price $34-99 17881 * Retail Price $34.99 17880 « Retail Price $34.99 Your Price $29.74 Your Price $29.74 Your Price $29.74 ‘These and many other North Lght prod are avaible at you favorite at & aft etal or bookstore You can alto oreronine at NorhUghtShop.com or by phone er 500258-0929. Online prices my ile on Ines tides pices oe ar arte onstore pages in the North ight Shop, BE sn imprint of FEW Medi, neA Penchant For Plein Air Mike Kowalski enjoys the myriad challenges—and the resultant rewards—of painting outdoors to capture light and space. BY JOHN A. PARKS nderpinned by sure draftsmanship, a painting—with its shortage of time, shifting firm grip on perspective and afine eye _light and unpredictable conditions—the artist. for color value, Mike Kowalski's brush still manages to find intriguing compositions in ‘work is fast, animated and direct. Working which he structures space and light to achieve ‘within the natural constraints of plein air satisfying and engaging scenes. “'m happiest outside and would much rather be there than in the studio,” says Kowalski, who divides his time between Seattle and Melbourne, Australia. “As an artist, you're accumulating skills all of your life, he explains. “with watercolor, for example, i's learning which colors to mix and how to mix them, using your brush effectively, understanding your surface, and knowing 'when to strike’ and puton the next stroke. Watercolor requires ‘that you be in the moment as you weigh the pigment load for each wash, evaluate paper dampness and consider other factors. “tn the studio, you have time to address all of this at your leisure, but working outdoors really puts you in the most challenging situations,” Kowalski continues. “You need extreme con- centration, and you're forced to use everything you've learned over the years to make a good painting. thrive in that atmosphere—and even ‘Thi stat above fexture color nota for Tha Boys of Brondey Ha 92t2TUSh when I'm palnting against the clock (oppeste; wateeslor on paper, 218) yellow ochve fel, for example, afd everything starts to come together. I feel ‘nas slated forthe midground foundation. my best work is done outdoors” 18 waterolrartismagazine comSteKowalski’ love of being and working in the great outdoors can be traced to his childhood. “A friend once told me that a good indication of what would make a person happy in life would be to look back at what he or she was doing at the age of 4 or 5," Kowalski says, “I was happy outside, observing nature, with no need of added stimuli— just the sights, sounds and smelis of the natural world, lalso drew a lot. After more than 25 years as a freelance illustrator, 've started pursuing art that makes me happy.” With this in mind, Kowalski searches for subjects that appeal to him, which he often discovers by walking through nearby neigh- borhoods. “As artists, we all have an eye for personal subject matter,” he says. “Ijust happen across something that strikes me. It might be the composition, or the color or light. Some subjects turn into good paintings and others don't” ‘The artist cites a recent successful outing in search of promising material. “I went out for a walk with my sketchbook at 8:30 in the morning” he says, “Usually 1d take a camera, too, but on this occasion I didn't. | first checked a subject was doing a painting of [in the studio] to observe the morning light and to sketch further details, ‘Then I walked up to a beautiful city park, where came across a Tai Chi group in the morning light. I watched the participants’ slow move ments and did very quick sketches. Luckily, I was able to make a good sketch of the group before it disbanded. I was excited about it being a studio painting, since there would have been no time to capture iton site. On my way for acoffee, Isaw another good ‘painting’ of a neighborhood garden café. [planned on going back and doing a plein air painting there in the next couple of mornings” Although Kowalski often uses photography to collect subject matter, he thinks it's important to ‘make an initial sketch in which he details paintartist's toolkit Paper: Winsor & Newton and Saunders rough and cold-pressed watercolor paper. “If 'm using a 300- Ib. paper, | won't have to stretch it,” he says, “but for everyday use, | opt for a 140-Ib. paper that will certainly buckle.” Therefore, he stretches the paper by soaking it and then stapling it to Gator Board, “Soaking the paper also removes some of the sizing, making it more absorbent.” Paints: Daniel Smith watercolors. “I'm picky about color,” Kowalski says. “I've tried many brands and like quite a few, including M. Graham, but it's important to really know my pigments. | can’t be jumping from brand to brand all the time.” Colors on Kowalski's palette include: aureolin; burnt sienna; burnt umber; cadmium orange; cadmium red scarlet; cerulean blue; cobalt blue; new gamboge; permanent alizarin crimson; quinacridone The house n Refit, (watercolor on paper, 249) Shown largely in shadow with one ramatic triangle of sunshine. The shadow color on the white clapboard i varied and active The composition in After Hours (oppo site, watercolor fn paper, 10x15) space flooded with 2 yellow-orange Sunset glow. The buildings and street soem sec: ondary subjects the perspective and placement of iy to increase the sense of space, gold; quinacridone rose; raw sienna; raw umber; ultramarine blue: yellow ochre; and viridian, Brushes: “I used to use only kolinsky sable,” Kowalski says, but because synthetic brushes have improved considerably over the years, he has switched to Escoda PERLA synthetic rounds. “I have a couple of big sables for large washes, a French mop, and a rigger. | try and Use the biggest brush | can.” Palette: John Pike palettes, as well as various enam- led and porcelain trays for studio work. “In the field, use my wonderful Craig Young brass palette,” says the artist. “| nearly always stand to paint because | just don’t have the same freedom of movement while siting, and the handheld Binning Munro-style palette is great” Miscellaneous: viewfinder, pocket knife and paper towels,app! Kowalski enjoys teaching workshops when he gets the chance and is always delighted to pass on his enthusiasm for watercolor. Here are some of his key tips. Draw a lot. You can only paint as well as you can draw. Study artists you admire. Also, visit museums to see the best watercolors you can. + Determine why a particular artist appeals to you. Is it his use of color? Her placement of brushstrokes? The subtle change between values? + Limit your palette, but try a variety of brushes and papers. Educate yourself about pigments. Many colors can be more luminous if you mix them yourself on the palette rather than purchase them pre-mixed in tubes. Use the best materials you can afford, because they'll make your job easier. Paint outdoors. It's the best way to loosen up and learn color mixing. Paint with artists who are just a bit better than you, and watch how they work. Having friends who are seri- ous about painting may encourage you to paint more, It's all about the time behind the brush, That said, you, don’t want to learn someone else’s tricks. Being your own artist is a difficult thing to do, but a good teacher, will help guide you.t be “Store Half the compost tion in The Café Is Open (watercolor on paper, 14x10) fs devote to the foreground shadow, pushing the drema into the ‘mig-ground ‘The dramatic ‘on paper, th?) changes within the shadows on oop red-volets flood inte eo0! blue-grays. Acne-point perspective the distance in Volunteer Park Café watercolor fn paper, 12). at artistsnetwork.After he has sketched his subject, Kowalski loosely transfers the drawing to his watercolor paper. He'll sometimes use a grid, but typically he draws it freehand. He then starts painting, “I may putin a sky of light wash initially,” he says, “but usually Igo right into the darkest darks.” He places his darks with fairly thick paint, an unconventional strategy that allows him to pitch them more dramatically against transparent medium tones. I's these medium areas—the shadow areas and large painting passages—that he places next. This is the stage of the painting process he enjoys the most, as he tracks through the subtle tonal and color changes of shadows, “Isave my lights and the most colorful bits for last," Kowalski says. "Finally, I may glaze over areas to unify them, make areas darker, scratch out bits or lift out little areas, and soften edges that need softening, “1's hard to know when to say ‘done’ but that decision is part of being an artist,” he continues. “Working outside helps because there's such a short window of time to complete something. 1'll sit and look at a painting for quite some time, searching for possible little additions and alterations. If the painting doesn't work, I'l choose to redo it rather than overwork it. For ‘me, a painting needs to retain its freshness.” Kowalski tends to favor compositions some complexity to the space. In St. Kilda Off ‘Season (above), he painted a shuttered amuse- ‘ment park from a short distance away, allowing viewers to consider the colorful promise of its structures under a winter light. Our attention is drawn beyond the park on the left to a view of a distant domed church. Above, the sky threatens stormy weather. As in many of his paintings,Kowalski plays areas of illumination against areas of shadow, alternating the two to achieve an increased sense of light and depth. Integral to this is Kowalski’ firm grip on perspective. His compositional abilities are also on display in Old World (above), which shows the interior of an antique emporium in which a solitary figure contemplates the dusty merchan- dise stacked around him. A window high on the wall at the back of the room allows sunshine to flood into the space, dividing it into lights and shadows, It also affords a glimpse of a roof and chimney of the neighboring building. “I wanted the sense that the store was in a town, not out in the middle of nowhere," says the artist. I's instructive to look at the handling of the color in the shadows of the floor where the artist shifts from warm red-browns to cooler violets. There's also a fine combination of hard and soft edges throughout the work mall of his paintings, Kowalski combines ‘a sense of immediacy with a thoughtful organi zation of space and light. The resulting images evoke a powerful sense of time and place, which the artist is happy to find viewers responding to. "I quite enjoy when someone looking at my paintings becomes engaged with the image and ‘we can chat about the piece,” he says. "That happens all too rarely, and I'm surprised that someone will buy a painting without talking to the artist. People buy art for their own reasons, and maybe they don’t want to hear my story. ‘That's OK. I'm happy that my paintings are gaining wider appeal. My ideas aren't completely new, but they're all personal. I hope to leave behind a little bit of myself in my work.” @ ld world (water- color on paper, ‘a features 2 variety of edges. In some places, including the figures lower eas, the edges dissolve ‘way altogether Atother points, a8 in tha mast of the ‘model boat, the Kowslki creates a sense of mystory by painting St. Kilda Off Season (opposite; water color on paper, 1420) froma short distance ava, where it viewes Behind a high wall The grays of the foreground and sky add tothe moody atmosphere. Utara tet | Dacomber 2018.28ae brush bol pe lie Loose, broad brushstrokes and fresh color add energy and import to Stephen Zhang's portraits of common men and women in everyday pursuits. BY KELLY KANE team rises from bowls of piping hot deli- cacies. Cooks work fast to serve hungry customers just out of sight. A colorful abstract background contributes its own kinetic energy, rounding out the portrayal of a lively ‘market stall in Spitalfields (opposite). Capitalizing on the most distinctive char- acteristics of the medium, Stephen Zhang combined transparent washes of vibrant, flowing color and rich, complex glazes for a realistic depiction, while retaining a fresh, spontaneous quality to the work. Recently, he took time out of a busy trip to China to chat with me about his creative process, the impact Buddhist cave murals had on his develop. ‘ment as an artist and how his admiration for the older people in his life led to his series examining the human spirit, Kelly Kane: You assign a great deal of importance to the sketches in your oeuvre. Do you sketch primar: ily to gather reference material or larger studio work ‘oF as a means to hone your observational skills? Stephen Zhang: I don't sketch before every studio painting, but when I do, I typically make ‘a number of compositional sketches, plus a few loose studies to help me decide how to tackle particular parts of the work, also do on-site sketches, but for me, these are different. I sketch on-site as a way to capture the feeling or vibe of a fleeting moment, to remind me of the raw essence of life and nature. ‘These sketches are totally separate from my studio work and are seldom complete. On-site sketches heighten my senses and help me dis- cover hidden compositions, colors and shapes. ‘They've portals between the real world and “For centuries the site of East London's Spitalfields Market has been a lively spot for commerce," says Zhang. “Salling their healthy ethnic ‘00d, the Ethiopian gis depicted in Spitalfields (watercolor on paper, x31 reveal London tobe a modern melting pot. While painting ‘the main igure was relatively easy, the challenge was to create a dynamic compositional ine and color flow, while maintaining a balance between tension and harmony 'm especially happy with the broad strokes of vormilon that added visual impact” Wataru ttt \ Bacon! 2015.27painting, where something magical happens. My goal is to capture a bit of that magic. KK: The gestures in your sketches are so active, 0 full of life. How do you use your brushstrokes tocreate this effect? ‘82: I think simplicity in colors and brushstrokes is vital to a lively sketch. The key is to capture the feeling or mood of the scene. I can always add details later, even after the subjects have left. Lalso take photos of what I sketch, in case Ineed a reminder of anything later. I sketch out the subject with a pen or pencil frst and then quickly paint over it with a squirrel brush, which allows me to paint broad strokes as well as details. I'm not concerned that the colors may run into one another. KK: How do you imbue your fnished work with the same fresh, lively qualities as your sketches? ‘82: Acombination of personal expression and hard work, a painting is a process of exploration, discovery and problem solving; it doesn’t have tobe perfect. If the finished work shows that struggle, it only makes it more unique. To that end, 1 paint with natural gestures, allowing my hand and brush to move freely. I don’t fret over the details of every stroke During a good session, everything flows well; the action of painting gives me pleasure both emotionally and physically. Ina bad painting session, I feel sluggish. Watercolor painting hinges on the flow and spontaneity of water. It should be unleashed rather than oppressed. Turner, Sargent and Homer, as well as Chinese water-and-ink artists, represent the best of this approach, KK: I especially love the energy of Pow Wow 3 (opposite). Do you consider it a sketch or a painting? 82: I consider ita painting, but done in a simple way like a sketch. I wanted to convey the rhythm of the dancer’s light feet, as well as the happiness, spirituality and dignity expressed‘through her movements, Capturing her posture was critical. I kept the color range narrow and approached the composition like a spinning top. ‘The line between the girl's head and foot is the axis; the middle section spins around it KK: How do you find your subjects? Do you work {from models or capture scenes from real life? SZ: My portraits result from discovery and direct observation; they aren't setups. When 1 run into interesting people, I try to get to know them and snap a few quick shots—if I don’t have my camera with me, 'll grab my phone, Due to the circumstances, the photos are sel- dom perfect, but they're good enough to serve as reminders, When I'm in the studio, [run through the photos I've taken in the field and pick one that | think has the most compelling story, distinctive look or interesting pose. ‘Although I don’t work with live models today, I'm trained in the practice, so have sound understanding of human figures and Zhang found the inspitation for Stone Road (watercolor fn paper, 48336) in erica. “This man comes out every day to fx the town's road under th baz Ing hot sun” he says. his face alone was enough to tel the Story, 80 elected to skip the background, hands and props Inspired by a sta worker at Venice's famed marketplace, Zhang painted Rialto Market (watercolor on paper, 4136). °1 tised primary colors to express the pas son the woman hag for her products” “Elegant, ight-ooted ‘and feminine, the tiny dancer in Pow Wow 3 [watercolor on paper, 9x03] produced the oppo: Site feling of Big Mountoin fon page 30)" says the artis. can reconstruct them accurately—even from less-than-perfect photos, KK: What draws you back to paint the human figure ‘again and again? 82: I've always been drawn to human figures for the stories they tell, the personalities they carry and the emotions they express. I grew up in China, among large families and social net- works, and I've traveled a lot. I've seen people from all walks of life and in all stages of their lives struggling and persevering. I've witnessed the strength of people's inner spirits and am ‘empathetic to others’ challenges, efforts and triumphs. Aesthetically, I'm fascinated by the distinctive topography of human faces and hands, [believe exteriors reflect interiors. KK: Viewers tend to bring a higher level of scrutiny torenderings of the human face. There's an expec: tation of accuracy. How much or how litle do you worry about that when painting a figure?82: Accuracy of human features is important, especially for the distinctive people I paint. But it doesn’t mean they can't be painted in the loose, fluid way that’s unique to watercolor. Fora sketch or loose painting like Pow Wow 3, I just need to lock in a few critical points, such as the eyes, nose, ears or overall contour of, the head. Then I simply let the paint—and the viewer—fill in the spaces in-between. In the same way, the interaction between the features as a whole is just as important as each element in more detailed portraits. To form an expression, the muscles of the eyes, nose and ‘mouth work together. So, even though the eyes are considered the windows to the soul, if 've painted the overall architecture of the face well, I don't need to spend a lot of energy on the eyes. Rembrandt was a great source of inspiration.sketches, clockwise fom above: Zhang aketehed two stylist eens while on 9 smoke break during @ photo shoot @ barbershop In Philadelphia, hich he liked for its “blue-collar heritage and down-to-earth neighborhood feelings” and a street-theater performance in Paris “In Big Mountain (opposite; watercolor on paper, 36x30), the dancer raflects th “As he danced, the distinctions between the warrior and nature blurted via @ ofthe scone with the fresh, owing quality | wanted was my greatest challenge timate masculine expression of an ancient prt” says Zhang. sling of spits, sounds and color, Balancing the complex details artist's toolkit = Ase neo el Faron ant gSlererodan deh baer gta srodsatoruenstoned ttn 140-Ib. for large paintings (3x4 feet, for example), stretched like canvas onto a frame + Brushe embrandt, Silver Brush, Creative Mark, lsabey and Raphael: various-sized Chinese brushes, ‘squirrel, flat, cat's tongue, round, hake and kolinsky sables_ + Paints: M. Graham, Rembrandt and Winsor & Newton: alizarin crimson, sepia, Prussian blue, cobalt blue, cadmium yellow, olive green, black, yellow ochre, burnt umber, vermilion, ultramarine blue, cobalt green and permanent green KK: You use a variety of colors and values to motel _Lalso start with broad strokes and work toward your faces. Can you describe your approach? ‘small details. As a result, my portraits look more ‘82: When painting faces, Luse a number of chiseled at the beginning, but gradually become different techniques, including large washes, more filled in and organic as the process goes on. flat brush sculpting, glazes, small-brush detail work and occasionally drybrush. My primary KK: Do the objects included with your figures concerns are maintaining transparency and have significance? a sense of fluidity and looseness. usually start _$Z: Along with the backgrounds, they repre- with dark tones and build toward lighter ones. _sent an integral part of each subject's story. Antara htt \ Docomber 2018.31‘The clothes, the setting—it’s all relevant to the individual or the message I want to impart. In Reflect 5 (above), for example, the printing machine is as important to the story as the per- son. I wanted to convey the beauty and strength ofboth American production and craftsmanship, which have enjoyed a strong comeback after decades of decline. The machine and the person have a symbiotic relationship. KK: Tell me more about your “Reflect” series. What {is the thread that ties these works together? ‘82: There have been a number of older people in my life who've been integral to my journey to manhood. I wanted to study and depict the depth, longevity, wisdom and empathy of old men, whom I admire for their inner strength, calm and still-burning passions. I want to paint them in the same manner the rich and royal have been painted by artists throughout his. tory. In addition, this series reflects my homage to Rembrandt and Velasquez’s portraits. KK: To start a portrait, do you typically draw the image on your watercolor pape before you apply color? 82: | frst do a sketch on my watercolor paper, and then begin with wet-into-wet washes, wet on-dry applications, tinting and other techniques using transparent watercolor. At the beginning of the painting, [start somewhat dark, lapply colors ‘and let them morph and flow into one ancther, allowing the fluidity and force of the water to do the work, Occasionally, 1 use masking fluid on subjects with complex details, such as the hair in Stone Road (on page 28), but most of the time, Ipaint around my whites. KK: You've already mentioned a number of artists whose work you admire. Is there anyone or any- ‘thing else you eredit with being an influence on your painting style? 2: Two other people who have been influential on my watercolor work have been my father, Defu Zhang, and Rob Erdle, My father is an artist in China, He worked at Luxun Academy of Fine‘Arts as a professor and the dean of both the painting and design departments, as well as the hhead of its art high school. He taught me painting and drawing when I was in middle school, and after I graduated from college, he introduced me to watercolor. He's a master of wet-into-wet painting, His watercolor landscapes epitomize the Chinese sensitivity. Erdle was a watercolorist and Regents Professor at the University of North ‘Texas, He opened my eyes to working in water color on a large scale and to abstract painting approaches. He passed away nine years ago. The Buddhist murals in the caves of Dunhuang, in western China, have also had an impact on my work. The storytelling, spirituality, expression of emotion, use of color and complex compositions were eye-opening to me T've experimented with a variety of media, ‘but I work solely with watercolor now. Nothing beats the spontaneity, magical color inter- actions and expressiveness of this medium, On a deeper level, watercolor—similar to “In Reflet 5 [water color on paper, 48x36), vied to convey a sense of Strength through ny depiction of the preseman’s strong Faw and hand, and {se of muted tones” Reflect 1 ator color on paper, 48x36) features @ Chinese antiques seller. “I used gray and blue to express the man’s modesty says Zhang. "Red, | symbolic colar in Chia, pops the greys ik ortist Reverend H0-Dennis (916 2012) bult a shrine ‘ound his wife's grocery store in Vicksburg, Miss. Andis the subject of Reflect 4 watorcolor on paper, £8130) “crated with found material, he shrine provides the colorul background: Chinese ink paintings—aligns with the Taoist philosophy to which I subscribe. KK: What advice would you give to an artist just getting started? 8Z; Let go. In the beginning, it's easy to get ‘wrapped up in learning new techniques and trying to control the water. We tend to have a set goal in mind and become frustrated when the paint, water or brushes don’t do what we ‘want them to do, In my experience, it's best tolet 0, relinquish control and just follow the water ‘where it takes you. That said, it's important to practice, to learn what you and the water can do together. Ancient Chinese wisdom says you can't control a flood by building dams, which ‘will break eventually. It’s better to channel the flood, respecting the force of nature. @ Find more of Stephen Zhang's lively sketches and portraits at artistsnetwork.com/medium/watercolor! stephen-zhang-watercolor-portraits. lantanete ited | Docombor 2015 38David Brayne’s contemplative figure: 1d m waterscapes on textured surf Many of Brayne's paintings, Harbour (watercolor anaavid Brayne isn’t your average water- media artist. For starters, he mixes almost all of his own paints from his collection of nearly 100 organic and inorganic raw pigments. In fact, he's even excavated red ochre pigment on a caving expedition (see "The Hunt For Red Ochre,” on page 38). ‘And, unlike most traditional watercolorists, Brayne creates visibly textured surfaces for his paintings. “Some people are surprised by the description of my work as watercolor,” Brayne says, As a member of Britain's Royal Watercolour Society, he enthusiastically agrees with its inclusive definition that a watercolor is “a paint ing in a water-based medium on a paper-based support." This definition includes traditional pure watercolor, as well as combinations of it ‘with other media, and new media altogether. Also intriguing is the fact that almost all of Brayne’s paintings are of figures in a landscape or interior, yet both the people and thelr surroundings are products of the artist's fertile imagination, A Penchant for Pigments When Brayne first tried acrylics, the range of colors available was quite limited. His initial response was to experiment by mixing earth pig- ‘ments such as raw umber and yellow ochre with store-bought tube paint, Even though art supply stores stock many more colors today, and he has two or three tubes of his favorites, Brayne still relies on his trusty pigment collection and mixes his own paints. “Ihave no objection to commercial colors,” says Brayne. “I sometimes use conventional watercolors if they offer the best solution for the effects I want; however, I generally can only achieve the particular luminosity, vibrancy and lyrical quality that I want by using pigments” To achieve those sublime qualities, Brayne says he uses lots of water and builds up manythin layers of paint. He also mixes the paints with gum arabic or uses acrylic mediums as a binder. “One acrylic medium | often use is Lascaux water-resoluble medium, which ‘makes the paint almost identical to traditional watercolor,” he says. ‘If I re-wet the paint, it will lift off. That's a property [like to play with.” Watercolor is, after all, “just pigment sus- pended in water with a binder that sticks it to the paper," Brayne says. “My standard approach is to use very wet, diluted paint and to work on a completely flat surface,” he continues, "meaning that the larg- est can paint is limited by how far I can reach, Partly because the paint isso diluted, and partly because the paper isn’t very absorbent and enables the paint to sit on top, itcan take a long time to dry. Asa result, 'm usually working on several paintings at once.” Because of his painting technique, Brayne’s surface has to take quite a battering, His go-to tim prone to over painting unti the Surface becomes tired? Brayne says of his multlayered paintings sueh fs Fisherwomen (watercolor and acrylic on paper, ‘30128, "Working on several pieces alongside one ‘nother means that Ws relatively eaty to putone aside until ready t0 return to fresh, weeks later” ‘The birds and the shoa! of amall fish in Dip Net (opposite: water color and servic fn paper, 18124) bring ehythm an movement tothe horizontal bands of sky land and water. The birds tnd teh encircle the state hour broken by cute angle of the fishing net choice is a 300-1b. paper sold under the Royal Watercolour Society name, which he uses “not ‘out of loyalty but because I like the way the paper behaves” Texture, Texture, Texture Varying the paint’s texture is important to Brayne—and to the overall impact he strives to make. "I may use the wrong end of a paint- brush or an etching needle to scratch into dried paint," he says. "I like the effects can achieve by introducing gold leaf, or—even better—silver leaf, “when I incorporate a resoluble medium. {nto a wash, llet it dry almost completely,” the artist continues. “Then I might splash it with ‘water from a brush, leave it for a minute or two, ‘and then apply blotting paper on top. Lifting it off almost immediately can create a lovely mottled effect as in Swimmers [on page 35] and Fisherwomen [above]. It's a textured appearance Uantanete tat | Bacomer 2018.37“Pablo Picasso has always been an Inspiration, and the figure n Woman ina Blue Dress [watercolor and acrylic on paper, 24x35] loosely bated on one of his charcoal drawings, Brayne says." particularly ied the woman's ‘ean, relaxed pore, ‘Tho arms have 8 poise that would be impossible to reinvent without 9 photograph of the cotiginal by my side ‘Swimmers (opposite; water color and acrylic on paper, 36x39), is an example of Brayno’s approach of tapping into his Imagination and rawing directly conto the painting surface, the huntfor red ochre Red ochre is a familiar substance in my studio, where | have a large collection of jam jars filed with pigments of many hues. | usually buy the pigments from a specialist supplier that offers a wide range of materials for conservators and the ever-increasing number of painters who wish to expand the range of colors available to them—colors that aren't found in commercial products. So, the opportunity to visit an ochre, or red iron oxide, mine no more than 8 miles from my home was one | could hardly turn down. The mine is located in the woods on the edge of Compton Martin, a small village on the north side of Somerset's Mendip Hill. A network of underground tunnels, which were probably worked for some considerable time, fel into disuse just after World War Il. Knowledge of the mine's existence faded from local memory, 50 the villagers were surprised when cavers rediscovered it about 15 years ago. Late one November evening, my wife, Jane, and | met our three guides and were supplied with helmets, lamps and boiler suits. The only entrance into the cave was on a steep hillside, and the approach was physi- cally the most difficult part of the trip: we needed ropes to negotiate the slippery climb. The ochre color was vivid in the light of our lamps and consistent throughout, whether as muddy clay or as solid rock. The hue, similar to an English red with a slight blue tinge, was unlike like any pigment | had in the studio, so | was delighted to collect a small bag of it. Each pigment has its own characteristics, so it takes a little practice to get to know them and to find the best way to prepare or apply each one. | particularly like using transparent iron oxides. They appear quite dull in their dry state, but once worked into a medium, they become clear, bright, intense and transparent earth colors. | use the iron oxides, with either an acrylic medium or gum arabic, to create oranges, yellows and reds. —David Brayneinstead of an applied texture. Of course, this technique produces varied results. “Ican't really control it, so sometimes I'm delighted and sometimes I'm dejected,” Brayne says. "When I achieve a quality I want to keep, usually apply a clear coat of acrylic to ix the area.” Brayne is open to experimentation—and the resultant marks—with two notable exceptions. “like just about every type of mark that can be ‘made with paint except runs and drips,” he says. “That may be another reason why I like @ flat working surface; painting flat means that the paint dries in a particular manner. I ind runs and drips too distracting, They're not ‘quiet’ and, looking at them, you can imagine them forming” The Starting Point In addition to his various textured surfaces, Brayne's paintings characteristically contain relatively few, yet primarily large, shapes. “When I'm in the studio, thinking of new shapes, and colors and compositions, it's very different from drawing from life where there's endless variety,” Brayne says. "The way I work requires that invent shapes and composition. It has to be a conscious pursuit. ‘used to enjoy life drawing when I did it regularly, but I don't want to work from life in my paintings," he explains, “Similarly, 'm not a plein air artist. My paintings are all of invented scenes, in a sense telling a story, and that’s not necessarily an easy option. I need a very controlled environment, with all my bits and. pieces at hand.” Brayne’s starting point for his highly tex- tured paintings is “a scruffy drawing in 28 or 4B pencil, maybe even with some marks using a chunk of red ochre, and with a web of lines and lots of rubbing out,” he says, “The initial draw. ing is always more detailed than the finished painting.” In fact, the detailed pencil drawing is very much part of his thought process. “find those first marks the most exacting part of my method,” he says. “It's almost as if! first have to destroy or mess up that clean, white surface before I can get going properly. Then I try to see ‘what's important in the initial expression of the idea, or what's not working, I've found that fastaspond to what's in front initial fresh quali ties, but then consider them expendable,” The Beauty of Water ‘While imagination may be at the heart of Brayne's work, it doesn’t mean he isn’t influ- enced by his environment. At one time, he lived in Lincolnshire, a notoriously lat part of England that's home to big skies and open fields. At that stage in his painting career, his work was very minimalistic—and all about sxpanse and emptine newer paintings are still about o a coastal plains and wetland area where, over the centuri the residents have learned to adapt to regu- re, flooding. It's hardly Tar, sometimes sev surprising, then, that water has becom a regular theme in Brayne's paintings, even if the depiction can be somewhat ambiguous. It’s not always clear whether one is looking iver, a lake or the sea. ‘or me, the beauty of water is that it creates an extra dimension in a painting," Brayne says. “Elements of the picture can be above it, on it or within it, People can see these things in very different ways. Boats are perfect for containing the figures—they act like ‘space cages,’ holding the figures together; the fishing rods or nets link them both physically and metaphorically to each other and to the water. like the idea of placing an oar or din the hands of a figur “because it immediately creates a ge quite a lyrical way, which in turn suggests ‘movement and begins to form patterns and rhythms that will run throughout the work.”Brayne leaves it to viewers to determine what stories the paintings are telling, and in a sense, everyone might find a different narrative. The paintings have a feeling of timeless folk tales, or again, with the depiction of people fishing with nets, religious connotation. There's confirmation of that in the fact that Brayne's local church has commissioned him to create an altar piece. Not all of his landscapes center around water, though. “The horizon dominates much of my landscape painting,” he says. “In Orchard I [abovel, for example, 1 wanted to try something new and experiment with a different compo: sition. l abandoned the use of conventional perspective and divided the picture with thick black lines, which created a space reminiscent of a theatrical stage set.” ‘As for his domestic interiors inhabited by lone figures, such as Blue Table (opposite), Brayne says, I prefer simple, empty spaces ‘in Orchard t (watercolor ond acrylic on paper, tat6), rayne experimented ha diferent landscape compo: sition, abandoning conventional per spective by dividing the picture wth thick Black ines. sim a great admirer ofthe Neo-Romantic painters who (worked in Britain during the 19503 fd "80s, such 23 Ben Nicholson, Keith Vaughar Willam Scott and Wintred Nicholson, says Brayne, “Throughout her lite, Winitred Juxtaposed stil ie, Usually an arrange mont of objects on 8 window sil withthe landscape coler and acrylic on paper 4x] is my {ko on this idea, ‘when I'm painting an indoor scene. It's much more difficult to make an interior work and keep the whole surface alive if the space is filled with lots of things.” Brayne’s paintings, which are less abstract than when he first began painting, manage to be both timeless and avowedly modern. There's also an appealing innocence to them, which the artist acknowledges is something for which he strives. “It’s not the easiest challenge, trying to project naivety when you're not naive.” Brayne’s ‘winning combination of innocence and textured luminosity creates intimate worlds in which the viewer feels privileged to enter. @ K FTON i arts writer in Kent, in England. See more of David Brayne's invented scenes at artistsnetwork.com/medium/watercoloridavid- brayne-watercolor-paintings Atanas? | Dacombor 2015.41Onesiiwatch Ten talented artists share the key to success: Follow your bliss. Taking in their inspired works serves as a creative wake-up call to the rest of us. CA CANTERBURY Dorothy Lee Los Angeles “Uve always been interested in the human face and figure as a means of exploring different themes and ideas, My portraits depict immi- grants and all the richness and complexity of the stories they bring with them. As a way to overcome the limitation of representing a three- dimensional object in two-dimensional space, use consecutive layers of varied texture, each of which adds depth and context to the work. “Dorothy creates thoughtful and edgy portraits of people in the Los Angeles area, She uses a tactile buildup of specific collages as the foundation of each portrait.” Katherine Chang Liu ' began Sorrow as an ordinary watercolor painting, As I progressed, I added collage to create a more meaningful image—one that revealed feelings and images from a past experience. To keep the collage images from overwhelming the watercolor portrait, Layered rice paper on it to push it back. l also decided to unite the collage elements into the portrait by ‘adding some to the face. This painting was my ‘Gureka!’ moment, Adding the collage elements was a new experience for me, and Ifelt it to be an ideal match with my style and subject mat ter. Since then, I've incorporated collage and Sorrow (watercolor collage on paper, 16x12) layering into my workBonnie L. Catron usticandweatheredwatercolorpaintings.com + Austinville, Va. Rustic Toole (watercolor on paper, 15124) “Inspired by the contrasting shapes and rustic aspects of tools, Bonnie is able to achieve her signature texture by emphasizing the shadows of overlapped objects and by using wet-into-wet, drybrush, stippling and salt techniques. “My inspiration is derived from the imperfect textures of old objects, weathered by time and the elements. The more corrosion, rust and detail an object has, the better. “Lbegin by photographing objects at mare than one angle. [look at the shapes, contrasts, values and textures of my subjects and then decide which photograph has the most interesting composition. I begin by sketching, -LL. Feng and then I paint the darkest areas in many layers to incorporate depth. I do this so that lean decide on the contrast and value for the lighter areas. Ileave the paper white where I want my lightest areas. l create the illusion of rust and corrosion by applying salt while the paint is still wet, or paint wet on-dry to create the look of these and other rough surfaces. tatef ‘see Lynn lynnpower: “I want my watercolors to look like {for opportunities to both break the form and watercolors—delicate, sensitive and define it with light. strong, Painting is adance between me, _“I study the subject and try to understand the medium, the subject and the work. specifically what itis about it that pulls me “Lexperience figures as columns of _in—typically, it's the life an older face repre- energy, connecting and mixing with _sents, unadorned and natural. Ifa color scheme comes to mind, I'll make note. I also want to reveal the light path, indicate important lost edges and mark the places where I want to dis solve form, so I do a few thumbnail sketches, “My final drawing must be clear, strong and accurate. I project the image ifan exact like- ness is important, but I prefer to draw freehand because in doing so I become much more acquainted with my subject. Drawing can take ‘me several days, with many overlays of tracing paper. I transfer my final drawing to 140- or 300-Ib. hot-pressed paper using a light table. “lynn has a soft touch with her portraits of people she finds interesting. They're both colorful and stunning in their simplicity.” Hugh Greer ‘the space that surrounds them. Ilook “once I start painting, Ihave a tendency to paint right over my whites, so recently I added a step to my process: I apply a very faint wash over everything except the areas I want to remain white. This reminds me to avoid those unpainted areas for the rest of the process. ‘Then I paint the areas that I think are pivotal to the painting, usually the eyes. If they're not correct, all else is pointless. But in Jake, the beard was first. I wanted it very fuid. “Next, [work around the face, building one facial feature ata time. I progress to adjacent features until they're done. Finally [focus on the facial plains, add crevice darks and make sure the reflected light is sufficient.” Jake (watercolor on peper, 20x14) View more works by these artists—and revisit previous Ones to Watch—at artistsnetwork.com/medium/watercolor/wc-ones-to-watchEileen Sudzina eileensudzina-art.com * McKeesport, Penn. West Newton, PA (watercolor on WUPO, 20128) “I met Eileen in 2014 when | juried the Pittsburgh Watercolor Society exhibition. | was blown away by her painting and gave it the Silver Medal. | also strongly recommended that she enter some juried national competitions. | was so pleased to see her painting in this year's American Watercolor Society exhibition. Her work is at once magical, personal, spontaneous and skillful.” -donna Zagotta “When painting, Ilose myself for a while and am free to create and design a work that’s loose and spontaneous on YUPO. I try to cap- ture just the essence of what's inside myself, painting quickly with a lot of lowing energy. Tike for there to be a lot going on close up, but to have the wholeness of the work show that something's there too, “West Newton, PA depicts a familiar small- town scene not far from my house, The town, is only the length of two blocks, and train tracks run right through it. The small river often attracts kayakers and fishers, anda bike trail runs alongside, 1 wanted to capture the signs, telephone poles and depth, designing it with color, shape and line. When you get up close to this painting, there's alot of pattern but no real detail. “Ipaint standing up with my surface vertical, horizontal, upside down, whatever. I spatter and splash, trying to get my feelings onto the paper. let the paint to do its thing and allow its beauty to develop with me helping it along. My best works are generally painted in less than one hour, I'm fast, energetic, spontaneous and very excited.” lastante ited | December 2018.48Cherokee Wind (watercolor on paper, 30x42) “My final results are better when I've invested more planning into the painting. Itbegins in the field when I photograph scenes that ‘appeal to me. Then I spend a great deal of time digitally manipulating pictures using several computer software programs, I can easily adjust light, tone and saturation as I look for areas to drop white shapes of various sizes. Isearch for ways to connect colors in order to create balance. Since values are critical, often print and study a grayscale copy. Only after this process is complete will | draw my image on paper. “Generally speaking, Iike to paint scenes that evoke movement and engage the emotions of the viewer. In Cherokee Wind, I was inspired “The ability to simplify drew me to Judy’s work. The shapes are flat areas of beautiful color. The feeling of movement is a delight.” -Jean Grastorf by the powerful and sacred movement of the Native American dancer. In keeping with the fluidity, I decided to play with motion by pour: ing the background and randomly dropping water onto the paper. ' prefer using fresh paint right out of the tube, as it gives me more control over consis- tency. I'm challenged in mastering greens and avoid all pre-mixed ones, with the excep- tion of Daniel Smith’s undersea green. I've created many of my own color charts with every possible combination and use them to guide my efforts. “In previous workshops I was warned against ‘muddy colors’ and was urged to only use transparent paints. While it was good advice for that period of my development, I've since decided there are no rules. I ree ‘ommend investing in videos and watching them often. Listen to others’ advice, but by all means experiment.”“This painting is from my series entitled ‘The Anatomy ofa Series: Hiding in Plain Sight’ a group of figurative works in which the individu. als are hidden in various degrees, abstracted or symbolized, and often are presented in the midst of a profusion of images and design such that the eye of the viewer must travel around the painting to find them. Themes are based on allegory, anecdote, mythology, surrealism, symbolism, whimsy and personal concerns. Symbolism, especially, has been used in the majority of my recent paintings as a means of communicating with viewers use an all-powerful, all-seeing eye in many paintings as a sort of trademark. “Multiple figures, outlined for the most part by the white of the paper, with the extensive use of multicolored grids in a variety of orienta. tions are featured in The Judgement of Pars, Here symbolism depicts the resultant Trojan War, Everett Webber West Lebanon, N.H. Read about Webber's detailed tase of symbolism in The Judgement of Paris (water color, graphite pen and ink on paper, 22x30) at ment-ot paris, Everett is a surreal artist, whose content is often driven by what he reads. His thoughtful paintings with wonderful narrative passages evoke wonders and spark the imaginations of the viewers.” -Katherine Chang Liu “Each painting involves a huge amount of pre-planning. I follow up my selection of a sub- ject or theme with Internet and reference book research for the sake of accuracy and authen- ticity. Then I make extensive studies, including detailed sketches of possible problem areas, and revise as many times as necessary. I visualize in detail the colors to be used and put them on paper. Only then do I complete a detailed pencil drawing and apply paint. I may alter my design ‘and concept at any stage through completion. 1 flout and tweak the sacred rules of conventional art frequently. [use opaque watercolors, and a lot of black and white.”Jenny Medved jennymedved.com * Sarasota, Fla “As an artist and illustrator, I work hard to develop paintings that speak to myself and others by capturing simple moments in time, l also strive to record the beauti- ful people and cultures around us that ‘may one day be lost or forgotten. This can >be anyone from a Native American, or a farmer who still works the land, to a child dressing up as an iconic movie figure. We all have a story to tell, and I'm dedicating “Jenny has very strong drawing skills and a dedication to her subjects. Detail is there, but it never gets in the way of the message.” Jean Grastort my life to looking at who we are, either as a group or as an individual, and what itis that we have to say. “Part of my process is to research as much as I can about a subject before I begin a painting—in this case, it was my youngest son. My aim is not simply to cap- ture an image on paper; rather, with each stroke and wash of color I want to honor the person accurately while keeping his or her image and presence alive. “Lenjoy the art of storytelling, and I want the people in my work to show you a glimpse of their lives, most of the time without the use of a backdrop or a scene. I enjoy using body gesture, facial expression and color to set the mood, while giving the viewer a chance to feel the moment and fll in the blanks of what the subject is doing or feeling, making it a personal story to Heart of a Hero (watercolor on paper, 20x16) everyone who views it.”Tim Oliver timoliverart.com & Lubbock, Texas cow Country (watereoler on paper, 4x20) “Tim's choices in how he interprets what he sees and the mood he inspires in the viewer is a clear indicator that he’s an observer at all times-something that’s not easily taught. His control, restraint and painterly app Venjoy immensely.” -lain stewart “r've been a landscape architect for 30 years in West Texas, and I've spent my career designing and implementing outdoor spaces for the use and enjoyment of my clients. think I'm drawn to the natural landscape as an escape from the built environment. “Justa few miles east of my home, the plains break off abruptly at what we refer to as the caprock. As you drop off into ‘caprock coun try’ you move from the flat cotton fields of the plains to ranch countryjandolling plains. In ‘us region, cattleoutriumber reople bya wide ‘miirg’n. Cow Count; was my atirmpt to er tite The feel of that areas its emptiness, tuesedke of the ‘cap’ and the stormy springtime sky. I tried to capture the emotions of the scene and in turn stir some in the viewer. ‘Working from my sketches, I normally re-create a much less detailed drawing on my watercolor paper as my painting road map. paint using a layering or glazing process, starting with a light underpainting and pro gressing to successively darker layers. This method requires that I use primarily transpar: ‘ent watercolors. All of my paints are by Daniel Smith and live in my Holbein Sx11-inch travel Palette Mikeste mix my own greens, but 4,40. keep sap and undersea handy. | also use eutral tint when I need to gray down a color quickly and painlessly.” roach, combined with his eagerness to move his painting forward, is somethingRyan Fox foxphoto.com « Raleigh, N.C. ER? BC. (watercolor on paper, 30322) “My curiosity in trying different techniques— pouring watercolors and painting section by section—motivates me. I enjoy pushing my artistic boundaries. This painting is based on my travel photographs from a trip to Vancouver. Twas inspired by the unique rising architecture of the place. My photographs are simply refer ence points, however. let my imagination and ‘memory create color and detail. My goal is not to re-create the photograph, but to paint the ‘memory of the unique moment in time. “My greatest fear was returning to painting after being a photographer for 13 years. It took almost two years of reading magazines, books and websites before I sat down and started painting. One year later, I took a workshop from a well-known watercolorist [John Salminen}. During the workshop, we discussed enter- ing national juried shows in order to promote your work. Three years after that, I sat next to the same painter at the American Watercolor Society awards dinner, where both of our paint. ings received awards. It was one of the greatest nights of my life. Entering my work in shows inspires me to try new things—to create better work and continually improve” “Lfind Ryan's work to be exceptional in both composition and execution. His confidence and inventive approach to watercolor is unique and surprising. His bold use of color and tone, combined with loose impressionist brushstrokes or carefully painted passages, leaves his work hard to define. | don’t find this disturbing in the least, but rather the opposite; taken as a whole, his work is fresh and full of life. It speaks for itself.” -1ain stewartNancy E. Caldwell necaldwell.com * Huntington Beach, Calif. Trading Baskets at Dawn, Owens Valley, 1901 (watercolor on paper, 22x30) “L enjoy the semi-abstract nature of Nancy's work, painted with fast, exciting lines and washes.” -tom Fong “Lpaint from a place I call ‘play drawing’—it's where I go when I doodle. I place myself into each painting and let my imagination run wild, “When I visualize a scene, l draw it quickly onto a sketchpad. I then re-create the draw- ing on tissue paper the size of my intended piece. I layer a second sheet of tissue paper over the first sheet and tighten the drawing, adding details and making minor adjustments. Occasionally, I'l do ita third time. Ithen use graphite transfer paper and trace it onto my watercolor paper. I learned the tissue-paper- and-transfer technique while studying to become a landscape architect. This process works perfectly for my design technique. “My biggest challenge has been having the guts to put my doodles into a painting. thought they would be rejected as being too childish or too whimsical. My mentor Tom Fong gave me the best advice: ‘No rules!’ The ‘courage to overcome my challenge finally came when I was attending a Ratindra Das work- shop. Iwas blown away because his paintings resembled my doodles. "Trading Baskets at Dawn, Owens Valley, 1901 was inspired by a dream. That day, while driv- ing through the Owens Valley, I was thinking about a wonderful person who, a few years ago, gifted me a Paiute basket that was found in the valley in4901_The two came togetherin my dream, and {he Festa pointing” JESSICA CANTERBURY is managing editoF Untamed \ Dacamber 2018.81Holiday Product Showcase eas QoR® Watercolor Corte exclusive binder proxies) ith ee ETON colors, MUSEUM Tradional wate/edrs, Goh ofers' ange and Vrsatlty AQUARELLE unmatched in the history of watercolors, Packaged in = Wood Box structive tn ata pice tat will appeal to impulse and git Giesseant Buyers hese ste area great dea fr tends an omy on Yon ile 76 Colors by For nor be oe le Caran d’Ache MUSEUM AQUARELLE watercolor pencts Smeal she cole expertise of Caran Ache. 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So treat yourself tothe Senne! wood boxes, along with two high-q ‘oF mote information, visit WWW.DieKBlick.com acrylicworks4 Torey h sel Captivating Color an Bree) Winners will enjoy national recognition Pinan Stan et ce hard-bound series, Acryl Cm EYE PUNE Tm ere January 29, 2016 a are cae BUC SUAS CLwatercolor essentia The Architecture of Light Learn why and how to achieve a strong sense of illumination in your paint F ime sucessful rtworkin any colorwe apply othe paper subtracts the light in painting becomes of medium hinges upon its ability _from the total amount of light avail- _critical importance, because once it's totella story, convey a vision or idea, able tous. Composing and protecting _gone, its basically gone forever. or move the viewer emotionally. In my own watercolor paintings, it's the story of light that's always most important. With this in mind, I try to create a path of light—a visually connected composition of darks and lights—to pull viewers into the painting. Once there, I want them to feel welcome and involved, to try to understand the story I'm telling, or even to begin to imagine their own, stories based on how the painting makes them feel. Painting the Illumination “Try not to paint the scenes and objects in front of you, but rather, try to paint the light that illuminates and gives them identity." I always share that bit of advice with my workshop students as a way to begin to redefine what it is we choose to paint, and moreover, how we choose to paint it. In watercolor, the power of what's not painted is at least as important as the power of what is. ‘As watercolor artists, we work im a subtractive way. In this trans parent medium, the only real white—and therefore the only real light—comes from the white surface of the paper itself. Any tone, value or ‘The strong light of the setting sun in Chambers Street—NYC (watercolor on paper, 30x22) sets up an opportunity for an almost perfect composition ofthe tivee basic values—iights, mid-tones and darks— to help establish depth and porspectiv,The light in Abandoned Gatehouse—Northern Ireland (watercolor on paper, 13x18) was used in concert with color primarily to establish » contemplative, jumbled in the foreground give way to softer, coe) fad colo helping to suggest the passage of tim. I view watercolor as a natural extension of the act of drawing, except that in watercolor, we “draw” not with a line but with shapes of value, tone and color. If we begin to see ourselves as painting with light—with its structures and its forms, rather than with the structure and forms of our subject ‘matter—we can begin to fundamen- tally change how we see and feel about the world around us. Positioning the Light ve found that the most effective way toachieve a strong sense of light is by planning where I want to position the light in my work. Then I diligently try to preserve those areas of light by painting around white shapes that serve as “negative” areas of untouched paper. Itend not to use any frisket or liquid masking to preserve the white. ‘The completely unpainted areas serve bittersweet mood. The brighter lights Tight inthe calmer distance, as the lightest possible lights; when they're juxtaposed with the darkest areas or with luminous shades, a center of focus—and real dramatic power—can begin to emerge. Creating Depth When working in any genre, Itry to imply depth, or perspective. The ‘untouched paper already has two dimensions—height and width —built into the work, But to convey the illu- sion of depth—the third dimension—a sense of perspective must be implied This happens primarily in two ways. First, when painting any scene featuring man-made elements— buildings, streets, railroad tracks or bridges, for example—the lines of perspective that seem to vanish in the distance can be employed to great effect. I believe that a water- color painting that relies heavily on line-based drawing isn't as evocative BY THOMAS W. SCHALLER Ir most of my paintings, the subjects ether backlit or the Hoht is used asa spatight to ee: ate a clear conte of focus. n Stars Wil Lead Us Home (watercolor on paper 18x, an hom ‘age to my late father, | used ight to envelop. the igure. et it aisolve atthe edges of the image to suggest a world fr beyond the paper. as one drawn with shapes of value, tone and color. The second way to imply depth or perspective in a painting is by arranging and layering the values— from the lightest lights to the dark- est darks—to establish the illusion of foreground, mid-ground and background. The three basic valu light, mid-tone and dark—can be arranged in countless ways. If there's a successful choreography of tone, real strength and depth can be achieved. A painting done ina ‘more limited range of values usually can’t evoke the depth of a painting that has a wider range of value ‘The command of light and dark at our disposal as watercolor artists allows us to build an endless number of compelling narratives, whether ina cityscape, a portrait, a land. scape or seascape, or a completely abstract composition. lartanete tet | Docomber 2018.88abercolor essentials Establishing a Sense of Time Lastly, 1 often try to imply something of yet another dimension—time. This happens by my choice of sub- ject matter. Paintings that feature bridges, staircases and roadways, for example, pull the viewers deep inside the work and allow them to feel that they're crossing that bridge, climbing that staircase or walking down that road. In this way, passing from one point to another in their minds, they imagine the passage of time. This is a powerful emotional tool available to us when attempting to tell a convincing story. artist's toolkit Palette: Nickel-plated brass folding palette hand-crafted by Steve Fanelli of House of Hoffman Surface: Saunders Waterford cold-pressed watercolor paper Paints: Daniel Smith: burnt sienna, cobalt blue, French ochre, lunar violet, permanent orangs ultramarine blue, Venetian red Brushes: Escoda Aquario Series Nos. 14 and 16 mop; Escoda Prado Series Nos. 10 and 12 round Misc. Stillman & Birn Beta Series sketchbook; Faber-Castell wooden barrel mechanical pencil with 2B lead; Palomino Blackwing pencil; Worther alu- ‘minum clutch pencil with thick 6B lead; Tombow mono soft white vinyl eraser Demonstration: Creating a Path of Light Step 1: Preliminary Sketch Step 3: First Wash Tsometimes doa quick value sketch _I worked with my painting at of my subject before Ibegin a painting, _a reasonably steep angle, letting ‘This can be especially helpful when _gravity pull the watercolor washes, Idon't have time to finish pieceon down the paper and allowing tones site, as it cements in my heart and to merge on the surface and within mind the impression and the inspira- the fibers. laid in all the basic tion of the place. Italso informs me _ shapes, tones and values quickly, of how to arrange my composition of making certain that I saved the values (lights, mid-tones and darks), _light—the areas of untouched white andiit's especially useful in showing _paper—as had been indicated by ‘me where the whites must be saved. __site observation and recorded in my value sketch. I used a limited Step 2: Final Drawing, palette of complementary colors indicated basic shapes and (blues and oranges) to enhance elements quickly and in shorthand —_the transparency, luminosity and con the painting surface. I knew if “vibration” of light often observed Idrew toomuch, !drun the risk of _in nature, Rather than use dark gray the painting becoming too tight, too _tones for the underside of the large much like an illustration. [like to arch and balconies, for example, leave plenty of possibility for intuitive _I've chosen somewhat unexpected painting and unintended “mistakes,” —_ warm tones of orange to help tell. allowing my brush to draw shapes _the story of the bright warm light of value, tone and color. in the Spanish city.Step 4: Second Wash [typically like to finish my paintings in one sitting, meaning nothing dries completely before I move on to the next step. So before the first wash was completely dry, I laid in basic shadows, figures and other elements ‘that could merge in various stages of ‘wet-into-wet painting. In this stage, ‘most ofthe final components are done. Final Step: Finished Painting When the painting was nearly dry, ladded a few final details— ancillary figures, hand rails and small shadows—with a No. 10 round brush. 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