Watercolor Artist - June 2020

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THE PORTABLE PAINTER: PRO PACKING TIPS
Water lor
ARTISTSNETWORK.COM
The Art
of the
Sketchbook
SPECIAL
ISSUE
Painting
LIGHT &
SHADOW
Simple Secrets for Creating
JUNE 2020
PLUS!
The Studio Tool You
Can’t Do Without
page 18
Charleston Rain
by Yuki Hall
12th Annual
Watermedia Showcase NOW OPEN FOR ENTRIES!
Want to see your artwork in Watercolor Artist? Early Bird Deadline:

Here’s your chance! Winners of the 12th Annual Watermedia Showcase July 3, 2020
competition will receive publication in a 2021 issue, in addition to cash prizes for
the top-ranked winners. We want to see the best, so get creative and show us Regular Deadline:
what you’ve got. Enter before the Early Bird Deadline to save $5 off the entry fee! July 31, 2020
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A divis ion of G o ld e n Pe a k M ed i a
Inspire • Educate • Connect
Contents JUNE 2020
Features
26
PAINTING LIGHT
& SHADOW
See the world with fresh eyes
by learning how to interpret
the various effects of sunlight
on its surroundings.
BY LUCY WILLIS
34
POURING ONE’S SELF
INTO LEARNING
After implementing a new-to-her
technique, Sandy Delehanty
finds success and pays it
forward by advocating
for other artists.
BY MICHAEL WOODSON
42
HAVE KIT, WILL TRAVEL
Be prepared for any creative
adventure by pre-assembling
a carefully curated watermedia
kit for sketching and painting.
BY JAMES GURNEY 26
50
ART IN THE PARKS
56
PERSONALIZING
62
SKETCHING SIENA
Refresh, renew and recharge YOUR SKETCHBOOKS The act of sketching can capture
your drawing skills among sights A sketchbook that you embellish the emotion and memory of
and scenery that are replete with or make yourself may become a scene in a more potent way
natural beauty. your favorite creative companion. than reference photos.
BY SUZIE GARNER BY WENDY SHALEN WITH CELIA WEDDING BY BRENDA SWENSON
ArtistsNetwork.com 1
JUNE 2020
Columns
4 EDITOR’S NOTE
Grab your sketchbook
and head out for a grand
painting adventure.
6 HAPPENINGS
Mary Whyte paints American
veterans from all 50 states.
BY CHRISTINA RICHARDS
10 ANATOMY OF
A PAINTING
An English artist finds
inspiration in 1840s Cairo.
BY JERRY N. WEISS
12 CREATIVITY
WORKSHOP
Paint deeper to reveal
the untold story.
BY DENNY BOND
18 BURNING QUESTION
What’s an item in your
studio or toolkit that
you can’t live without?
COMPILED BY ANNE HEVENER
20 WATERCOLOR
ESSENTIALS
12
Try these practical ways
to convey movement.
BY DANIEL MARSHALL
ON THE COVER
72 OPEN BOOK The Portable Painter:
Bend the rules of design Pro Packing Tips 42
to your advantage. Painting Light & Shadow 26
BY RAE ANDREWS The Art of the Sketchbook:
18 SPECIAL ISSUE 42, 50, 56, 62
The Studio Tool You Can’t
Do Without 18
Get Social Summer Veranda, England (detail;

watercolor on paper, 17x22) by Lucy Willis
@ARTISTSNETWORK
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2 Watercolor artist | JUNE 2020

-RWTMVI)HYGEXI'SRRIGX
From meditations in the studio to trending colors, urban sketchers and

Renaissance masters, Artists Network connects you with the artists, ideas,
inspiration,skills BOEUPPMT that encourage art makingBOEHSPXUI
Artistsnetwork.com
Editor’s Note Watercolor
ARTISTSNETWORK.COM
A lthough A. A. Milne was

speaking of the adventure
awaiting a young boy and his
stuffed bear, the quote below could
be pasted on the front of any artist’s
EDITOR-IN-CHIEF Anne Hevener
SENIOR DESIGNER Brian Roeth
SENIOR EDITOR Beth Williams
ASSOCIATE EDITOR McKenzie Graham
sketchbook. Whether it’s used to ADVERTISING

capture picturesque scenes from ADVERTISING CONSULTANT Mary McLane
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is always a place to capture the creative adventure. [email protected]
In this issue, you’ll be introduced to a number of artists
MEDIA SALES COORDINATOR Casey J. Laug
who enjoy painting on the go. Suzie Garner, for instance,
800/726-9966, ext. 13439; claug @goldenpeakmedia.com
GOLDEN PEAK MEDIA
CHIEF EXECUTIVE OFFICER Gregory J. Osberg

As soon SVP, GROUP PUBLISHER David Pyle
a I saw you,
as SVP, CONSUMER MARKETING Paula Backer
I knew a grand VP, FINANCE Jordan Bohrer
a
adventure VP, DIGITAL Melanie Darienzo
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”
DIRECTOR OF CONTENT, FINE ART GROUP Tricia Waddell
— A. MILNE
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(1882–1956),
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ings into Rocky Mountain National Park and other places of P.O. Box 422140, Palm Coast, Fl 32142-2140
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really, with one passion feeding the other. CUSTOMER SERVICE
PHOTO BY CARA HUMMEL; A. A. MILNE: HULTON ARCHIVE/STRINGER/GETTY IMAGES

Celia Wedding (page 56) is more of an “all of the above” Please visit [email protected]
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You’ll also meet English artist Lucy Willis (page 26), who 730 River Road, New Milford, NJ 07646.
Tel: 201/634-7400. Fax: 201/634-7499.
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capturing the excitement of her travel-painting adventures Attention Retailers: To carry Watercolor Artist in your stores,
contact: [email protected].
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With all that inspiration, the only thing left to do is to they may contact you about products and services that may be of interest to you. If
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Edges
by Kathy Ellem
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A d i v is ion of G o ld en Pe a k M e d i a
Happenings
/ MAKING A SPLASH /
Mary
Whyte
For seven years, internationally
renowned artist Mary Whyte traveled
the country sketching, photograph-
ing and interviewing along the way.
Her mission: to paint 50 large-scale
watercolor portraits of current-day
American veterans—one from each
and every state.
We the People: Portraits of Veterans
in America is Whyte’s remarkable
series depicting military veterans
of all ages, from all walks of life.
Portraits of a Pennsylvania science
teacher, a South Carolina single
mother, a Missouri dairy farmer
and scores of others make up a show-
case of real people, with real stories,
that’s both powerful and timeless.
The multifaceted project also
includes a book, We the People
(University of South Carolina Press).
It also inspired the founding of a new
nonprofit, Patriot Art Foundation. The
foundation seeks to honor veterans,
provide support as they return to civil-
ian life, and connect them to online
art, history and healing resources.
Whyte’s exhibition opened at the City
Gallery, in Charleston, S.C., in 2019. It
will travel next to the National Veterans
Memorial and Museum in Columbus,
Ohio, through September 2020.
Eventually, Whyte hopes to find
a permanent home for the series.
“The ultimate goal is to keep all of
the paintings together on permanent
exhibition,” she says. “I just want
a place where veterans can come
in and look and say, ‘I mattered.’ ”

CLOCKWISE FROM LEFT
Evolution
(watercolor on paper, 28¾x32½)
Richard, U.S. Navy, 1986-2008
Flurries
(watercolor on paper, 29x41)
Dogie, U.S. Navy, 1943-1946
America
Kella, U.S. Army, 1986-1988
Homeland
(watercolor on paper, 27½x40)
Renee, U.S. Marines, 1987-1991
Happenings
New + Notable
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/ WATERCOLOR WORLD /
WATERCOLOR STOLEN BY NAZIS RETURNED
TO ORIGINAL MUSEUM
Another piece of art from the infamous Gurlitt Collection

is being returned to its original home. An early 20th-
century work by German artist Christian Rohlfs (1849–
1938) is headed back to the Kunstmuseum Moritzburg,
in Halle, Germany, and will soon be returned to its origi-
nal owner, the museum announced. The museum hailed
PHOTO: KULTURSTIFTUNG SACHSEN-ANHALT

“the comeback” of this watercolor study of a tree trunk
painted by Rohlfs, a key figure of German expressionism.
Rohlfs’ painting, along with thousands of other pieces
of stolen art, ended up in the collection of art historian
Hildebrand Gurlitt, who passed it down to his son,
Cornelius Gurlitt. It was discovered in 2010 when authori-
ties became suspicious of the then 77-year-old man
carrying thousands of dollars in cash on a train from
Switzerland to Germany. Authorities searched Gurlitt’s
Munich apartment and found myriad looted treasures.
Gurlitt had arranged in his will to leave all of the art
to the Museum of Fine Arts Bern, in Switzerland; however, Study for a Tree Trunk
many of the pieces that were proven to be stolen have (1914; watercolor on paper, 25x19) by Christian
since been returned to their original owners or to the Rohlfs, Kunstmuseum Moritzburg Halle (Saale)
owners’ descendants. In a statement, the museum
expressed its gratitude that it wasn’t asked to pay
for the Rohlfs painting or bid for it at auction.
“ The song
is pure, like
a painting,
a pure
watercolor.
—JOHN LENNON,
TALKING ABOUT
”
THE BEATLES’ SONG
“SGT. PEPPER’S LONELY
HULTON ARCHIVE/STRINGER/GETTY IMAGES
HEARTS CLUB BAND”
Anatomy of a Painting
“The Unassailable
Authority of
British Technique” Lewis set out to ele-
vate watercolor
JOHN FREDERICK LEWIS depicts Egyptian painting to the
same level of critical
culture based on observation instead of acceptance as that
European romanticization. of oil painting. He
attempted to do so
by creating two ver-
By Jerry N. Weiss sions of the same
composition, one in
each media. Lewis
gradually raised the
E astern culture intrigued

Western artists in the 19th
century. A trip to the Middle
East or the Mediterranean was all
but obligatory for English artists,
Two Camels
(ca 1843; watercolor and
bodycolor over black chalk
on brownish paper, 14⅝x20⅝)
by John Frederick Lewis
prices of his water-
colors to match
those of the oils.
The watercolors
took longer, and it
was a difficult
but few stayed long enough to undertaking.
explore subjects deeply. For the “Generally, in spite
most part, painters chose exotic of all my hard
themes romanticized through the of the camels’ necks; and the detailed work,” he wrote,
lens of European imperialism. description of their heads. In 1856, “I find watercolor to
An exception was John Frederick the critic John Ruskin wrote of Lewis’ be thoroly [sic]
unremunerative
Lewis (English, 1804–1876). Lewis work, “Let him examine, for instance, that I can stand it
studied with the portrait artist Sir with a good lens, the eyes of the no longer—it is all,
Thomas Lawrence (English, 1769– camels, and he will find there is as all always, rolling
1830) and began his career as a painter much painting beneath their droop- the stone up the
of animals. His first trip was to Spain ing fringes as would, with most hill—no rest, and
and Morocco in the early 1830s. In painters, be thought enough for the such little pay!”
1837, Lewis traveled through Italy, whole head.”
Greece and Constantinople, finally set- Lewis delighted in visual elabora-
tling in Cairo in 1841. He lived there, tion. He developed a reputation as an
in the luxurious manner of the Turkish ethnographer, an artist whose depic-
elite, for a decade—long enough to tions of Egyptian culture relied on the
observe the Islamic lifestyle in detail. transcription of what he saw rather
Lewis made hundreds of drawings and than on romantic invention. After his
watercolors, which he eventually return to England, Lewis used Two
brought back to England and used Camels as a reference for at least two
as reference for exhibition pieces. later works. WA
Two Camels is one such study.
Lewis’ experience as an animalier Jerry N. Weiss is a contributing writer
is evident in the fine and accurate to fine art magazines and teaches at
draftsmanship; the graceful curves the Art Students League of New York.

Current scholarship is most favorable regarding Lewis’ Middle Eastern studies were so scrupulously
Lewis’ skills. Art historian Patrick Noon believes that observed that they were treated as factual
Lewis demonstrated “the unassailable authority documentation. Not only are the camels beautifully
of British [watercolor] technique” and concludes drawn, their tawny coats pale in the sunlight, but
that he painted “some of the most sophisticated the intricate pattern of the fabric on the
works ever produced in that medium.” foreground camel’s saddle enlivens the painting.
THE METROPOLITAN MUSEUM OF ART
The camels are silhouetted against Several finished paintings by Lewis are based on Two Camels.
a light sky, which Lewis quickly One, dated soon after the artist returned to London, is a water-
dashed in with opaque watercolor. color now in The Fitzwilliam Museum, at the University of
ANONYMOUS GIFT, 1961
He often used tan paper for his studies— Cambridge. Lewis adhered closely to the sketch, even duplicat-
a natural choice for the artist’s ing the fabric pattern. Another is an oil panel at Yale University,
desert landscapes. in which the animal appears reversed. Lewis painted the work
in 1876, some 33 years after the original sketch.
Creativity Workshop
Guardians of Time (2009; watercolor on paper, 23x23)
It’s About Time I began my art career as a graphic

designer/illustrator. In that capacity,
I designed book covers, ads and
consumer brochures, and created illus-
Dig deeper to paint beyond the surface trations for children’s books, edu-
and advance the stories in your work. cational publishing and short stories.
Illustration became my passion, as
most of my assignments centered
By Denny Bond around drawing images that depicted
the most important part of a story.

Reflections (2010; watercolor on paper, 24x19¾) 92 (2012; watercolor on paper, 24x20)
Creating with the intent to advance found it an endlessly contemplative elevated the clocks into a “Golden
a story in a visual way involved a lot theme to ponder and pursue in my art- Globes” event, resulting in a more
of thought—and a deep understand- work in subtle and not-so-subtle ways. visually stimulating painting. Imagine
ing and appreciation of the story. the clocks devoid of the reflections.
That kind of artistic focus and 2009 They wouldn’t appear all that interest-
implicit consideration led to my I began painting timepieces with ing. Paintings with a narrative usually
present-day style of painting, enabling a work entitled Guardians of Time command a viewer to pause, contem-
me to avoid the average portrayal and (opposite). During one of my many plate and dream up possibilities.
to think outside the box. In some of treks in search of an interesting
my paintings, there’s a thin line subject, I discovered these pocket 2012
between fine art and illustration. watches in a display case, neatly The thought of time passing became
Currently, the painting style I’m laid out, each one nonworking yet a theme in 92 (above right), a paint-
most attracted to is realism. Although displaying its own unique time. Each ing of my mother, who had dementia
any painting with great design, bal- was once connected to an individual and was approaching the end of her
ance and color appeals to me, hyper- who used it daily to plan his or her life. My initial thought was to create
realism hits the high note. Even bet- life. And so begins the narrative of a painting that would highlight her
ter is hyperrealism with a narrative— these paintings. experience at that stage of her life.
a story that exists beyond the actual At the time, I was also working
painting. In my experience, the com- 2010 on a series of paintings that were
bination of the two can be more As my collection of timepieces polka-dot themed, so I began with that
compelling to the viewer—and more increased, so did my desire to paint concept. I placed the vintage clock in
satisfying to create as an artist. them. I created Reflections (above left) her hands to suggest the impending
Here’s a timeline (pun intended) at the start of the new decade by end of life. The background of con-
showing how I’ve come to explore surrounding two vintage clocks with nected polka dots suggests memories;
the concept of time in a narrative mirrors to reflect the sunlight. The the fading polka dots imply memories
way for more than a decade. I’ve creation of the abstract light reflection lost. My mother lived to be 94.
Creativity Workshop
2013 TOP
Time After Time (2013;
Time After Time (right) features watercolor on paper, 14x18½)
my initial collection of three pocket
watches, which I placed upon BOTTOM
a larger vintage school clock. The Looking Glass (2015;
watercolor on paper, 18½x27¾)
background numbers add a graphic
quality to the pocket watches while
also encircling and protecting the
smaller timepieces, similar to
a parent protecting her children.
2015
While perusing our family’s book
collections, I discovered Through the
Looking-Glass, and What Alice Found
There, Lewis Carroll’s novel about the
adventures of Alice in Wonderland.
In Looking Glass (below), I displayed
one of my pocket watches atop the
book. This placement immediately
suggested a relationship to the book
itself, but the reflection of a rabbit’s
face on the glass of the pocket watch
creates a story beyond the actual
written story—a kind of time-related
fantasy for the viewer to envision.

2017
DIY (Do It Yourself) (left) is a
seemingly unfinished self-portrait
featuring building blocks as its
structure. They symbolize the
creative construction process of
the artist. The blocks aren’t yet
assembled in logical order; some are
angled, others are out of sequence.
There’s disorder, but the possibility
of alignment is evident. The clock
references are an iminent reminder
of both the passing of time and the
need for order in not only the artist,
but also the viewer.
Most of my paintings begin with
a concept, but while working on them,
I’m sometimes not quite sure as to
why I chose that particular subject
matter—or why I even included the
chosen items.
LEFT
DIY (Do It Yourself) (2017;
watercolor on paper, 20x20)
BELOW
Alarmed (2017; watercolor
on paper, 18¼x27¾)
Creativity Workshop
RIGHT
GPS (2019; watercolor
on paper, 27¾x20)
BELOW
Time Slot (2019;
watercolor on paper,
28x15¾)
I’ve even finished a few paintings paintings. It’s not only because gesture, as I learned in GPS (above
before realizing the correlation of I collect them, but also, more likely, right). This portrait of my grand-
what I’d created. Alarmed (page 15) due to my own thoughts and concerns daughter was to focus on her and
is a painting in this category. Visually, about aging. the maps, due to the fact that she’s
this work is all about alarm clocks, To some extent, Time Slot (above very observant of her surroundings.
but technically it’s about cell phones left) symbolizes my “retirement” from I admit that I didn’t plan for the
and the intrusive noise we’re con- illustration and a total commitment actual placement of the vintage alarm
stantly forced to hear in locations to fine art watercolors. Even though clock, but there it appeared, center
where they shouldn’t be permitted. I hadn’t punched a time clock since stage in the painting. I’m starting to
The viewer can imagine all of these 1973, the time card holder is in my believe the timepieces are in control,
alarm clocks ringing at the same studio. It’s there, as are the clocks, but in actuality, the clock’s position
time—and longing for silence instead. to remind me to keep up the pace. was perfect, considering I’d allotted
I again used pocket watches to empha- just a short amount of time to com-
2019 size to the viewer the issue of time plete the photo session for this
It’s been within the past two years and how we all pay homage to it. painting before my granddaughter
that the images of timepieces have Trying to get an active 5-year-old “timed out.” Notice the white rat?
become ever more present in my to pose is a grand and noteworthy That’s yet another story to be told.

2020 eliminating the wood housing and TIME TO TRY
My passion for pocket watches focusing on the mechanics. Adding the IT YOURSELF
recently escalated with a purchase resting pocket watch on top repeated Find a subject about which you’re pas-
of a box of 200 secondhand pocket the circles within the painting, of sionate—one that sends you into your
watches—all nonworking. Their which there are 27 or more. studio or workspace with one thing
functionality, or lack thereof, doesn’t The safety pin itself becomes the on your mind: painting. We as artists
matter to me because no one will story in the painting for the very already have a “calling,” so to speak,
know their timekeeping status in the reason that it’s not the first visual to create something that’s distinctly
paintings. I also adopted an antique to which the viewer’s eye is attracted; our own. When we couple that with
kitchen clock featuring a minute in fact, it’s likely initially unnoticed, a subject matter that we love—and
hand held together by a safety pin. but then there it is. The viewer’s mind one with which we have a compelling
I connected with it immediately. silently asks “What?” which begins story to share through our creative
I chose to make Fastened (below), the unfolding of the painting’s myste- efforts—good things can happen. WA
into a dramatically dark painting, rious narrative.
An internationally recognized water-
Fastened
colorist living in Lancaster County, Pa.,
(2020; Denny Bond (dennybondgallery.com)
watercolor graduated from Kutztown University
on paper, with a B.F.A. in communications. Bond
25x15) utilizes his design background to
combine elements in representational
paintings that emphasize a timeless
quality, sometimes real, sometimes
imagined. He’s a signature member
of several societies, including the
National Watercolor Society and the
American Watercolor Society. His
work has earned numerous awards
and recognition, and has been featured
in multiple publications.
Try this at home

CREATE A PAINTING
IN WHICH YOU
EXPLORE TIME AS
THE NARRATIVE.
Send a JPEG (with a resolution
of 72 ppi) of your finished painting
to wcamag@goldenpeakmedia.
com with “Creativity Workshop”
in the subject line—or follow
@ArtistsNetwork on Instagram
and share your painting there:
#everywatercolor_time. The “editor’s
choice” will receive a one-year
subscription to Watercolor Artist.
The entry deadline is June 15, 2020.
Burning Question
What’s an item in
your studio or toolkit
that you simply can’t
do without?
Iain Stewart
One thing I use without fail in every painting
is my smartphone’s camera. No matter the
situation, if I need to simplify what I’m
looking at, a small photo does the trick.
I also can use the camera to see the
painting at a much smaller scale, and
I can easily manipulate the image to see
the scene in grayscale. This is incredibly
useful when judging my tonal work. It’s also
helpful to be able to zoom in on very small
areas of a painting to see if they’re working.
The grayscale function is also a great
teaching tool. Most of the problems I see Sothwold Imagined, Nocturne (watercolor on paper, 10x14) by Iain Stewart
in students’ work are value related: The
sky is blue and the trees are green, but the
shift in color doesn’t give the image any
depth. I quickly take a photo, change it into
Jean Grastorf
grayscale and can show them on the spot For most of my watercolor life, I transferred my
what I mean. If your value steps aren’t drawings to the “good paper,” using the pro-
strong enough to register in black and cess of wax-free graphite. Then, while teaching
white, you need to go stronger. a class, my students introduced me to the light
Another trick is to take a photo while the box. So much better and cleaner! A real bonus,
paint is still wet and another when dry. If you too, is the ability to explore the layering of multi-
don’t feel a little quiver when putting down ple images. As I lay one sheet of tracing paper
the correct tone, then you’re probably going on top of another, images can be discovered,
too light. The correct tone should look wrong combined and simplified. The resulting drawing
when wet. If you go too strong from the is then ready to be transferred to my watercolor
start, then you’ll have to push the rest of your paper via the light box. Note that heavier
painting darker than needed to compensate. papers still call for the graphite method.

Brenda
Swenson
The da Vinci Cosmotop Spin,
Series 5080, size 20mm
paintbrush. Whether I’m
sketching, painting or
teaching workshops, this
brush goes everywhere with
me. Students have nick-
named it “the magic brush.”
It creates interesting and
varied shapes, from thin
lines to larger areas. It’s
great for pulling ample paint
from wells into the mixing
area. It’s made of synthetic
material, but doesn’t release
water and pigment too
quickly as many synthetics
do. It’s not expensive, and
I admittedly have bought
a small stockpile. I can’t do
without it!
“ The artist yields

often to the stimuli
of materials that will
transmit his spirit.
— ODILON REDON ”
Betsy Dillard Stroud
My personally carved stamps are the items
I can’t do without. These stamps are covered with
iconic images and designs, and can be used
decoratively and/or as symbolic references in my
paintings. Often, spatial problems in abstract
paintings can be “fixed” with a stamp. The stamps
are soft on both sides and therefore can be carved
on both sides. I caution my students to always
work with a stamp carver to make one. The idea
came to me in a dream; that leitmotif has been
with me now for more than 25 years. Owl Dance (acrylic, 22x30) by Betsy Dillard Stroud
Watercolor Essentials
The arrest of
momentum is
evident in Round Up
(plein air watercolor
sketch on paper,
16x11). The horse’s
forward movement
is being halted to
make a quick cut.
The soft edges
of the rider’s scarf—
and the direction
of the horse’s mane—
also accentuate
that action.
On the Move
Try these easy-to-implement, minimalistic
approaches to introduce dynamic motion
and energy into your paintings.
By Daniel Marshall

T here are times when we want
to convey a feeling of stillness
and peace in our work and
times when the subject or scene calls
for action, replete with a sense of
ABOVE
I sketched In the Pit (plein air
watercolor sketch on paper,
10x15) in the hectic pit area at
a vintage car and motorcycle
race. The darker figures and
motion and energy. To accomplish car serve as a backdrop to
offset the mechanics, who are
the latter, it’s important to figure wearing white coveralls. The
out how to break out from the rigid rider walking his motorcycle
confines of overly rendered pencil is treated loosely, thanks to soft
drawings and deliver a clear message and lost edges that imply some
without getting caught in an abstract movement against the static
figures. The use of light against
mess of watercolor tricks. dark and soft edges helps to
contrast the hard edges.
MOVING FORWARD
When I’m trying to convey the LEFT
Through the intentional design
motion of a particular subject, of this vignette, Throwing Hay
I’ll often design it as a vignette. (plein air watercolor sketch on
A vignette doesn’t have a definite paper, 16x12 ), I’ve added to the
border; instead, the white of the energy and action. The angle
paper is left as negative space and of the truck, the directional line
in the shadow, the gesture of
becomes part of the design. the figure and the soft edges
During the Golden Age of around the hay bale create
Illustration, from the late 1880s a sense of movement. Design,
through the early 1900s, this design directionals and edges work
together to depict action.
concept was used to leave space for
type in illustration and advertising.
I often look to two of my favorite
Watercolor Essentials
LEFT
At Full Gallop (watercolor
on paper, 16x20) features
a galloping horse, midstride,
and its trusty rider bouncing
along in the saddle. This
painting captures the energy
and grace of motion. By
leaving the horse’s outline
unfinished, I direct all of the
focus toward the rider’s head
and the right hand holding
the rein. The viewer’s mind
fills in the rest.
BELOW
The vibrancy of an urban
environment is captured
in City Moves (watercolor
on paper, 14x18) by angling
the horizon line, adding
directional lines through the
buildings and directing the
foreground toward the figures
on the right. Vibration around
the box truck and the blur of
the taillights add to the sense
of movement.

LEFT
Although the figure is still, poised for his turn
to race, the gesture of the sketch and the
unfinished vignette keep Heading Into 2018
(watercolor on paper, 15x10) from feeling
boring. I’ve left parts of the front tire unfinished
and added some “noise.” The gesture of the
body position indicates that within seconds,
the rider will be placing his right hand on the
throttle, ready for his chance at victory.
BELOW
Rev ’em Up (plein air watercolor sketch
on paper, 10x15) was done on location, focused
on the men in the car and the shape of the body
more than anything else. The gesture of the
driver lurching back into the seat as the clutch
pops, throwing the hot rod in gear, is key.
Nothing beats sketching in the thick of the
racing pit, smelling the gasoline and motor oil.
Try using all five of your senses to inspire and
inform your work.
illustrators from that era—Dean

Cornwell (American, 1892–1960) and
J. C. Leyendecker (German-American,
1874–1951)—for vignette inspiration.
By designing with a vignette com-
position in mind, I’m ensured that
I won’t get too locked in or distracted
by elements of the background and
foreground. I’m able to focus on the
movement of the subject and can
exploit the use of different types
of edges for the desired effect.
Quite often, as watercolorists,
when we approach full-on paintings,
we tighten up and get stiff, placing
too much importance on creating
a finished work, losing the mind-set
and looseness of the original sketch—
and the opportunity to take advantage
of watercolor’s natural fluidity. It’s
easy to either get locked in to simply
coloring in our drawings or fall into
using accepted watercolor “tricks”
and forget that we’re actually painting.
All of my paintings are basically
done in a three-wash process—
background, foreground and middle
ground—moving from large shapes
to small shapes from the use of larger
brushes to smaller brushes. This keeps
the painting from becoming over-
worked, retaining the freshness and
vitality of the sketch.
Consider the use of design, color,
line and edges to create paintings
that actually look like paintings—
and that feature loose, expressive
watercolor that revs up the movement.
Turn for a demo

demo
Leaning In
A carefully planned, yet loose, approach provides a sense of speed and movement.
Toolkit
PAPER:
• Saunders Waterford
140-lb. rough
BRUSHES:
• Escoda Perla Nos. 10
and 12, Escoda
Aquario Nos. 10 and 14
PALETTE:
• Daniel Smith: yellow
ochre, burnt umber,
burnt sienna
• Winsor & Newton:
The Sketch The Drawing
The first and most important element of any painting is the I keep the drawing loose but accurate.
cadmium red, Winsor composition, even more so for a dynamic scene. I created this My only concerns are the gesture and
violet, French 5x7-inch plein air sketch as the reference for the painting. proportion of the rider to the motorcycle
ultramarine I wanted the image fully secured to the upper left of the paper, and the perspective of the tires. Depicting
• Holbein: lavender, leaving negative space on the right where the cyclist is the wheels accurately can be challenging.
Davey’s gray heading. Essentially designing within the rule of thirds,
the cyclist’s head and hand are near the upper right-side
MISCELLANEOUS: intersection—the focal point. The lines of the shadow and the
• white gouache blur from the fender support the movement from left to right.
Step 1 Step 2
I lay in a foundation wash of Davey’s gray for the background and After the initial wash is dry, I begin painting the helmet area and
some cadmium red to establish the helmet and color streaks. The continue down through the figure. I work quickly to ensure that all of
foreground is a warm gray mix of yellow ochre, burnt umber, a little the colors and edges can run into one another, always working top to
Winsor violet and a dash of Davey’s gray—cool in the background, bottom and allowing gravity to aid in the process. I’m working with
warm in the foreground. I continue to play with and disturb the slightly thicker paint, placing it into the wet paint to create soft darks.
background wash while it’s still wet, adding more streaks of red and
pulling out some of the Davey’s gray with water to achieve the
desired motion effects. The only thing I’m concerned about cutting
around is the back of the jersey to preserve the white of the paper.
Everything else can run together and appear abstract at this stage.

Step 3
After establishing the leg area, I once again move quickly to the bike
to ensure everything blends together. I continue working down through
the motorcycle and to the left, as I need to make sure the bottom stays
wet to connect into the shadow—and that the tail end stays wet to pull
out the motion effects. As I create the shadow effect, I’m more
interested in design than reality, making a balanced shape that adds
to the impact of the motion. I spatter paint to create some “noise”
around the rear wheel. At this stage, the painting is essentially
finished, so I walk away for a few minutes and then go back with
fresh eyes to determine if additional details or adjustments are
needed. I introduce a little bit of the background color to the
fenders and add a shadow on the cyclist’s thigh.
Final
I’ve ended up with a cohesive painting, unified in color and form and full of action. You can almost hear the
open throttle as the cyclist goes careening down the track in Leaning in (watercolor on paper, 12x16). WA
Daniel Marshall (danmarshallart.com and @danmarshallart on Instagram) is a Denver, Colo., award-winning artist and educator, who
teaches workshops across the country. He’s a signature member of the American Watercolor Society and the Laguna Plein Air Painters
Association, and a member of the Salmagundi Club. His work is represented by the Huse Skelly Gallery, in Balboa Island, Calif.
Painting
LIGHT & SHADOW
WHETHER PAINTING A FAMILIAR LANDSCAPE NEAR HOME OR
TACKLING AN EXOTIC SCENE FARTHER AFIELD, IT’S THE PLAY OF
LIGHT AND SHADOW THAT BRINGS THE DRAMA TO A COMPOSITION.
By Lucy Willis

O
n my first trip to the Greek Islands, as a student, in 1973, I took
with me a large canvas bag of oil painting equipment. I loved the
experience of painting abroad as a way to soak up the new visual
stimuli, but the resulting oil paintings were a problem. I couldn’t
pack them up and move on to the next island until they were dry.
Some paintings stuck together, and I didn’t know what to do with the remaining
blobs of paint on my makeshift palette.
In spite of this, I loved the painting challenge of trying to pin down the sunlight
and shadows. A few years later, I went back to Greece to live, and that’s when I
turned to watercolor as a way to express this interest. In the years since, whether
I’m at home in England or traveling abroad, watercolor has been my medium of
choice for capturing the excitement of light and the landscape.
ABOVE
The grid of shadows seen on
the left side of The Greenhouse
and Peppers, England (water-
color on paper, 22½x30) form
an important part of the
composition. They follow the
same laws of perspective as
the glazing bars that cast them.
RIGHT
The inspiration for Number One,
The Royal Crescent, London,
England (watercolor on paper,
15x11) was the subtle interplay of
shadows and the architectural
details of the building facade.
THE MAGIC OF A MEDIUM
Although it was for pragmatic reasons that I switched to watercolor for travel-
painting—namely, the ease with which I could carry my equipment, and the
speed at which I could work on a painting and then pack it away—the medium
soon became central to my painting life on its own merits. I love the way it
works, its special qualities of versatility, its strength and subtlety, and the fact BOTTOM LEFT
that, after 40 years, I still discover new things each and every time I paint. I was enchanted by the many imaginative
Both the beauty and the bane of watercolor as a medium is its fluidity and designs of gates in Senegal, some made
of little more than sticks and string. It’s the
transparency. Making a painting in watercolor is like walking a tightrope and
shadow, however, that this particular gate
juggling a multitude of balls in the air at the same time. You must mix color, cast on the foreground that prompted me
add the right amount of water, achieve depth of tone, organize the composition, to paint The Stick Gate, Senegal (water-
leave white paper where you want the lightest tones, all while controlling the color on paper, 17x11).
drying of the paint—not too fast, not too slow. All this before even considering
BOTTOM RIGHT
the knotty problem of choosing a subject and dealing with the vicissitudes of In Shadows and Columns, Venice, Italy
changing light and shadow. (watercolor on paper, 11x7), a back-street
I’ve been immensely fortunate to paint in some especially interesting regions view of a very grand Venetian church,
of the world: in China as it started opening up to the West; in Syria just before it’s the shadows that bring drama to
the composition. The chinks of sunlight
the civil war; and in remote corners of India, Zanzibar and Yemen. It’s not
between the columns and the buildings
necessary to travel far and wide to paint light and shadow, however. Whether create shadows that converge at a
you’re at home or abroad, the challenge is the same: It’s a matter of seeing and vanishing point that happens to coincide
understanding what’s before you, and then being able to put it down in paint. with the two tiny figures that appeared
while I was painting. They help to give
scale to the monumental portico.

The sun filtering through the branches of
the trees throws a striking diagonal pattern
of dappled shade onto the church wall
and bell tower in Plane Tree Shadows,
Crete, Greece (watercolor on paper, 15x11).
I placed the doors and round windows
lightly first and then added the shadows,
varying the shadow color as I went along
to pick up the subtle changes in hue within
the dark tone.
order out of this kind of visual confu-

sion, however, is a challenge that
I relish. To stand back after an hour
or two of work and see that the pic-
ture is beginning to make sense is
very gratifying.
Plane Tree Shadows, Crete, Greece (at
left) is a much more straightforward
composition. The building is painted
straight-on; there were no perspective
worries, and I was able to concentrate
on the shadow patterns on the wall
and the color variations within them.
Where the same shadow pattern falls
on the ground, the scheme changes
from a pattern that slants diagonally
to a more horizontal pattern of light.
SUNLIGHT &
SHADOW PATTERNS
It’s impossible to separate patterns
of sunlight from shadows, of course.
The clear, crisp shadows of the figures
in Walking in Sunlight, Venice, Italy
(page 30) would be nonexistent with-
out the sunlit areas of the ground.
I left the paper entirely white for the
SEEING SHADOW VARIETY path and painted the shadows of the
For painters, shadows are miraculous things, because a shadow in a painting two figures as a single, rather compli-
immediately suggests light. Shadows create light by way of contrast, and the cated shape. Had the day been
nature of a shadow can be found by close study of color and tone. There are as overcast, these would have been at
many permutations of shadows as there are conditions of light: cast shadows, most soft-edged, darker smudges
attached shadows in which a surface curves away from the light, soft-edged and within a dark ground, if visible at all.
hard-edged shadows, double shadows (from multiple light sources), and so on. But here we have bright sun casting
When I’m painting outdoors on a sunny day, I often go for a subject in which almost photographic projections of
the shadows form a major part of the scene. If I paint contre-jour (facing the the figures onto the horizontal plane
sun or, translated literally, against the day), the shadows are thrown on the on which they walk.
ground toward me, as in The Stick Gate, Senegal and Shadows and Columns, Whether the edges of a cast shadow
Venice, Italy (both opposite). I really enjoy this effect and make use of it to appear sharp or blurred depends not
define the plane of the ground upon which the shadows are falling. It also gives only on the lighting conditions but
rise to halos of light around objects, which are lit from behind. also on the distance between the
A completely different but equally compelling effect of cast shadows is the object that’s casting the shadow and
dappled shade cast by tree foliage. It may be that the shade falls on a building; the surface on which it’s cast. You’ll
it’s a real challenge to create the impression of sun filtered through leaves, while often see soft and sharp shadows
allowing the architectural features to hold their own against the scattered pat- within the same scene, where some
tern. This can be seen in Number One, The Royal Crescent, London, England (page shadows are cast onto a surface
27), in which the complications of a steep architectural perspective, reflected nearby and others are cast from
light and the chaos of cast shadows all conspired to trip me up. Making some farther away. Typically, the dappled
shade from trees features patches of
OPPOSITE
COLOR IN SHADOWS
dark and of light, both of which have For Turkish Fountain, Hania, Crete,
soft edges. If you look closely at Greece (watercolor on paper, 15x11),
Turkish Fountain, Hania, Crete, Greece In paintings where the sun is very I painted the more sharply defined
(opposite), you’ll notice that both are strong, the shadows are where shadows, such as those from the
present. Some are cast by closeup palm fronds, on dry paper using the
the color tends to be more visible.
point of a brush. When I started to
objects, as in the palm fronds and The sunlit areas are relatively paint the shadow shapes of some of
the pillars, and others are more soft- easy to deal with by leaving white the more distant foliage, I softened
edged, such as the dappling on the space in the first instance. Once the edges with clean water to enable
conical top of the fountain and in the you have a strong impression of the paint to bleed and blur slightly.
sunlight working well in the
left foreground. These are cast by tree BELOW
painting, you can then add the
foliage which is farther away. Once you slightest hint of diluted color to In Walking in Sunlight, Venice, Italy
become attuned to looking for these the patches of sunlight. (watercolor on paper, 13x11), the
variations, you’ll find there are endless shadows of the figures give us a
Colors in the shade tend to be
permutations on the shadow theme. sense of the horizontal surface of
cooler (at the blue/mauve end of the path and the direction of the sun,
A different sort of pattern is created the spectrum), whereas sunshine but most of all a feeling of warmth
by window bars when you’re painting often adds a note of warm color to and a balmy atmosphere. I added
indoors. One of my favorite subjects is a brightly lit surface. A pale wash the shadows to the right of the scene
the interior of a greenhouse, in which of yellow or orange will suffice, but mainly to fill a space and balance
make sure you don’t darken the the composition. Rather than invent
the wooden glazing bars are mirrored the shadow of a building or a tree,
tone too much, or the sense of
in a grid-like pattern of shadows and I made them in the shape of figures,
sunlight will be diminished.
light. The Greenhouse and Peppers, people visible only by their shadows,
England (pages 26-27) was painted adding an air of mystery.
on a clear sunny day, and it was some-
thing of a task to sort out the various
elements: the shadows on the wall, the
window at an angle and the reflections
in it, the slope of the roof bars, as well
as all the different horizontal lines,
angled because of the deep perspective.
There was also a multitude of patterns
within that structure. I painted a light
terra-cotta wash over most of the brick
wall and, when it was dry, I added the
grid of shadows. When I came to paint
the brick pattern, I had to make sure
that the individual bricks on the sunny
sections of the wall were pale enough
to read as sunshine, not shadow, and
by doing so, keep the strong contrast.
The pepper plants are lit up in sunlight
and also throw a shadow pattern of
their own on the left-hand wall.
SHADOWS IN
PERSPECTIVE
The laws of perspective—mainly,
that things appear smaller the farther
they recede in space—also apply to
shadows. You can often observe that
the shadows on the buildings con-
verge at their own vanishing point,
as seen in Shadows and Columns,
Venice, Italy. I mainly work by eye,
placing and checking my lines of
perspective by simply holding up
my brush to gauge the angle and
getting it clear in my mind before
committing it to paint.

Meet the Artist
English artist Lucy Willis
(lucywillis.com) studied
at the Ruskin School of
Drawing and Fine Art, in
Oxford, England, and then
taught drawing and etching
at the Aegean School of
Fine Art, in Greece. A painter
and printmaker, Willis has
shown her work in more
than 27 solo exhibitions in
London to date. Her work
has won several awards,
including a 1992 BP Portrait
Award, and is part of many
public collections, including
the National Portrait
Gallery, in London, and in
private collections around
the world. Willis has run
numerous painting trips
abroad as a guest tutor
for the U.K. magazine The
Artist. Her home base is
Somerset, England.
Turn for a demo
Notice how the shadows in The Greenhouse and Peppers, England conform to
the same laws of perspective as everything else in the picture: All the receding
horizontal lines that are parallel—whether glazing bars, shelves, flower bed
edges or window frame—meet at a vanishing point somewhere in the center
of the picture, level with my eyeline. The shadows on the wall also represent
horizontal lines, projected by the glazing bars opposite, so they become
narrower as they recede; they, too, meet at the same vanishing point.
SEEING THE WORLD IN A NEW LIGHT

One intriguing aspect of shadows—particularly those cast by strong sunlight—
is that they impose striking patterns onto our familiar world. It seems that our
brains have evolved to deal with this phenomenon, and we think nothing of it. It’s This article has been extracted
only when we set out to paint the effect that light has on our surroundings that from Sunlight & Shadows in
Watercolour by Lucy Willis,
we realize how extreme and complicated the changes are that occur when the sun published by Batsford.
comes out. Analyzing these changes and making visual order out of the apparent
chaos of shadows can be a delightful challenge.
demo
Summer Veranda, England

In a complex composition like this one, which is full of little patches of light, it’s
important not to burn your bridges by putting large areas of wash on the paper
at the beginning and thus losing the chance to retain a highlight where you need it.
Step 1 Step 2
I began by building up a series of marks over the surface so that Next, I mixed a neutral gray color so that I could pin down the
I had an idea of the composition before committing myself to larger shadows on the ground, then moved across the picture, building
shapes. I used the point of my large brush, dipped into a variety of up detail in a loose but controlled way, taking care not to paint
greens, grays and pinks, to lightly and rapidly plot the filigree of leaf over the brightest areas. Before applying the intensely dark
shapes that would gradually build up as the painting progressed. trees, I made marks to position the figure, and then painted
carefully around her head, giving a crisp edge to the sunlit form.
Step 3
Never losing sight of the parts
of the painting I wanted to
keep white, I gradually filled
the spaces. On the foliage,
I used mostly dabs and small
broken brushstrokes so that
a sparkle of light would remain
on many of the leaves.

Go Online for More!
Lucy Willis shares more advice for making the most of your travel-painting
experience in our Q+A interview: artistsnetwork.com/go/willis-interview
Final
I toned down the white wooden structure on the far right so that it appeared to be in shadow,
and also all the foreground plants beneath it to enhance the effect of the sunlight on the paving
stones in Summer Veranda, England (watercolor on paper, 17x22). A little extra detail on the
dark trees also increased the contrast with the translucent green creepers in front.
MORE TIPS FOR PAINTING SHADOWS

Stop and squint. When you have a subject with into difficulties. For example, if you have a large
areas of strong sun alternating with shadow, it area of shade, try to apply it in a single wash, even
helps to squint to simplify the tones. The whole if it’s a fairly complicated shape.
image becomes a bit of a blur but the basic
shapes of light and dark are easier to see, making Pre-mix the shadow color. Mix plenty of color
the shadow pattern clearer. at the outset to avoid running out halfway through;
if you have to pause to mix more, the edge of your
Have a strategy. Once you start applying paint, wash could dry, leaving an unwanted line. Should
it’s important to have a clear strategy in mind you run out of color, keep pushing at the edge
before you apply shadows so that you don’t run already on the paper while you mix. WA
Pouring One’s Self
Into Learning
SANDY DELEHANTY FOLLOWED THE ADVICE OF HER
GRANDFATHER AND HER WELL-KNOWN MENTOR AND TRAVELED
THE WORLD. SHE NOW ADVOCATES FOR OTHER CREATIVES WHO
COULD USE THIS KIND OF SUPPORT AND ENCOURAGEMENT.
By Michael Woodson
T
hey say the best teacher
is life itself—that you
never stop learning as long
as you allow for the student
within to thrive. Artist Sandy
Delehanty grew up in a small town,
but she had big ambitions and a family
who valued education. Surrounded by
an encouraging community, she went
from being one of 11 students in her
grade school class to an artist who has
taught throughout Europe, has shown
in galleries and museums across the
country, and is on the board of direc-
tors for an organization actively
changing the lives of women artists.
Seeing the World

Delehanty was raised in Fort Jones, ABOVE
Calif., “population 525,” she says with a laugh. “There were Six months after graduation in Masai Warriors
six girls and five boys in my first-grade class. I was the kid 1968, Delehanty and her friend, (watercolor on
paper, 14x18)
with the crayons and the colored pencils.” Attending college Christine, decided to backpack across
was naturally a big change after living in a small corner of Europe. “We worked two jobs all OPPOSITE
the world. “I’d visited Grandma in Los Angeles, so I’d been summer and fall, then took off in Notre Dame
to the city before, but this was a big deal.” She earned her February,” she says. They backpacked (watercolor on
paper, 24x18)
bachelor of arts degree from California State University, in from February through July, at which
Chico, and, at the suggestion of her beloved grandfather, point the duo was low on finances and
stayed an extra year and earned her teaching credentials. stumbled upon a creative way to earn
“My grandfather was a kind, wonderful man,” she says. some money. “I was sketching at the
“He had a sixth-grade education, but really appreciated Trevi Fountain, in Rome, and an
education. He told me, ‘You really haven’t finished your American woman came up to me,” she
education until you get out and see the world.’ So I did.” says. She wanted to know if I’d sell my
Santorini Windmill
1985, he introduced her to his Aunt Betty.

“Anybody who knows the watercolor
world, especially in the 1980s and ’90s,
knows who she is, because she wrote
magazine articles about sketching.”
Her name was Betty Lynch. “She was
very passionate about watercolor,”
Delehanty says. “She told me, ‘Look, this
should be your medium. You can paint
at the kitchen table. You can take it with
you.’ She gave me a list of supplies and
told me to go get a watercolor set.”
So Delehanty began painting again—
on nights, weekends, summer vacations,
whenever she found the time—and Betty
served as her mentor. “When I’d see her,
she’d look at my work, critique it and tell
me what I needed to do next,” Delehanty
says. “I just fell in love with the medium,
and I’ve been working in it ever since.”
Lynch’s influence extended well beyond
the paintbrush. Every summer she taught
a watercolor sketching class in Italy, which
gave Delehanty an idea—and a way to
return to Europe. “I researched tour com-
panies that offered watercolor workshops,
and I became an instructor,” she says.
From 2003 to 2018, the artist taught
every summer at least once, and some-
times twice, in Europe, as well as in Bali.
She’s now a full-time artist, but she
reflects fondly on those years. “I got to
hang out in Europe,” she says, “and I got
to know so many wonderful artists from
all around the world.”
drawing to her, so I sold it for five dollars.” Encouraged
by the exchange, Delehanty sought to strike gold twice.
“I sketched another one, and a German lady was watching A Fresh Perspective
me sketch. So, Christine got out her German translation Delehanty’s artist statement reads, in part, ‘“When I stop
book to figure out how to sell the other one for five dollars.” learning, that’s the day my work will become mechanical,
For the next two months, Delehanty (then signing her predictable, boring.” Part of that “always learning” mantra
work as San Farley) sold work she made using dipping pens, is finding new ways to represent age-old subjects.
a bottle of black India ink and a little pad of 8x10-inch draw- Take Notre Dame (page 34), a painting Delehanty
ing paper. “In 1969, you could stay in hostels, hitchhike and says is of utmost importance to her career. “I was teach-
travel through Europe for five dollars a day,” she reminisces, ing a workshop in France and before the workshop
“so I financed the last two months of our trip by selling started, my friend Bobby and I traveled to Paris,” she
sketches to tourists. I had found a way to earn a living.” says. “We were sketching Notre Dame in our journals
and wondering aloud how many thousands of artists
must have painted the cathedral. I love the building so
Arriving at Watercolor much. I thought, ‘I’ve got to do a painting of this.’ ” But
Delehanty eventually married and took a job in London, the artist wanted to do more than simply paint a subject
working for IBM for three years before moving back to the universally admired and easily recognized; she wanted
United States. Her marriage ended, and as a single, working to find a fresh perspective.
mother of a young son, she simply had no time for making With Bobby by her side, Delehanty snapped photos on
art. Seven years later, she married Burke Delehanty, and in her phone without looking, Bobby directing her with “up,”

“down” and “oops, you got some sky, lower it.” “We opened its traveling exhibition, in 2018; Havana Laundry (below)
up the pictures later at a café and came across this one, and was the second, in 2019, and Central Park Sunday (page 38)
it was the winner,” she says. “I’d been spinning through was the third, this year. “The pouring of paintings
pictures, and it stopped us in our tracks.” has really changed my style,” she says. There’s a duality
When she returned home, she decided to try a new between reality and abstraction at play in them. Her sub-
approach—pouring paint—a technique that led to a whole jects are often ordinary—scenes we might find and see in
reimagining of her work. “I took that photo of Notre Dame our everyday lives, on commutes or outside our windows.
and sketched it onto watercolor paper,” the artist says. But the pouring process—and the colors she chooses—
“I masked it with Incredible White Mask. I put it on with bring something playful to the work that both honors the
a palette knife and I saved the whites. Then I mixed three subjects and changes them. It’s a fresh perspective, indeed.
primary colors in water and poured them over the wet
paper. After the paint and surface had dried overnight,
I masked the next lightest area in the painting. Then I American Women Artists
poured again, and I just kept going, working from light In addition to her full-time focus on art, Delehanty also
to dark. That painting features about 25 pours.” helps bring equal opportunity to the professional art world.
Notre Dame was Delehanty’s first painting to be To illustrate why the issue of gender equality needs atten-
accepted into the American Watercolor Society (AWS) for tion, Delehanty posed a question. “Consider all the art
museums in the United States,”
she says, “and focus on their
permanent collections. What
percentage of the collection in
any art museum in the United
States do you think was created
by women? What’s your guess?”
I considered it, and hoping to
be wrong, guessed 10 percent.
“Actually, it’s 5 percent,” she
says. The majority of U.S. art
museums feature between 3 and
5 percent women artists in their
collection. The artist serves on
the board of a nonprofit organi-
zation determined to change
that statistic.
Formed in the early 1990s
by a group of accomplished
female oil painters and sculp-
tors, American Women Artists
(AWA) is an organization that,
according to its website
(americanwomenartists.org),
helps women “achieve their
dream of becoming professional
artists … overcome barriers and
create opportunities equivalent
to those commonplace to their
male counterparts.”
Delehanty became an AWA
executive board member last
year, after having shown her
work in the organization’s
museum exhibition. “I realized
this show really made a differ-
ence to my resume, and then
I was invited to join its board
Havana Laundry
Central Park Sunday (watercolor on paper, 18x24)
of directors. I’d never been on a board before, but it seemed Remembering

like the right thing to do.”
The organization recently launched its “25 in 25” Aunt Betty’s Advice
campaign, which is committed to sponsoring 25 women- AWA is Delehanty’s large-scale pay-it-forward project,
centric museum shows in 25 years. “We just had our fourth her way of offering help and advice to artists the same
museum show at Steamboat Art Museum, in Colorado,” way Aunt Betty did—for the new era. “When Betty was
Delehanty says. “We’re starting with small museums and first helping me, she could see I was serious about paint-
have the next four years planned. Museums are now starting as a career,” she says. “She told me, ‘You have to sign
ing to seek us out.” She continues, “They’re juried shows,” your paintings with your initial. Don’t sign your first
she continues, “and the entries we’re receiving include very name, because if you do, you’re not going to get into the
high-quality names. Consequently, we’re starting to receive shows you enter.’ I signed my first name from day one,
invitations from big museums and galleries.” but she found it necessary to tell me that. She had experi-
The mission and the organization’s reach seem to be enced discrimination herself, and she felt it necessary to
having a domino effect. “AWA had a show at the RS Hanna advise me as a younger female artist. That was part of her
Gallery, in Fredericksburg, Texas,” she says. “I was included canon of advice.”
in the show, so I went to see it. What I saw blew me away. It’s that mindset that Delehanty, along with AWA,
“After the show, I was gallery-hopping with some hopes to change. But in remembering her own artist’s
friends, and we were all still wearing our name tags from statement, Delehanty’s advice extends even further.
the show reception,” she continues. “We walked into a gal- “Look for workshops with a teacher who paints in an
lery, and the owner read my name tag and remembered entirely different way than you do—who has an entirely
seeing my watercolor at the other gallery. She asked me different style than yours, who maybe does something
to talk to her the next day, and that’s when she invited that you have absolutely no idea how to do,” she says, “and
me to show my work in her gallery. We’re gaining steam.” then sign up for that workshop. You’ll be so far out of your

The Difference
Abroad
With so much of her time
spent in Europe, I wondered
what Delehanty considered
the biggest differences
between European watercolor
artists and American water-
color artists. “Europeans take
the medium very seriously,”
she says. “When you walk into
any gallery in Paris, London or
Barcelona, you’re as likely to
find watercolors as you are
oils on canvas, especially in
galleries that focus on repre-
sentational art. You’ll find that
the prices are very similar, too.
The level of appreciation for
the medium is stronger there.”
Turn for a demo
South Fork on the Yuba River
Meet the Artist

Sandy Delehanty (sandydelehanty.com)

comfort zone that you’ll probably be frustrated. When earned her bachelor of arts degree and
a secondary teaching credential from
you go back home, don’t stop. Don’t put all the materials California State University, Chico. She
away. Take all those things and go through what you did. continued her education by traveling
See what you learned and then incorporate it into your through Europe visiting art museums
work. Your work will take a turn every single time. You’ll and selling original works of art to
jump ahead in your knowledge and proficiency.” tourists. She has taught watercolor
workshops in the United States and
abroad. She’s a signature member of
Michael Woodson (michaelwoodson.com) is an editor for
the American Watercolor Society and serves on the board
Blue Manatee Press, an independent children’s book publisher of directors of American Women Artists. She’s currently
located in Cincinnati. He’s also a freelance writer, editor represented by Sparrow Gallery, in Sacramento, Calif.,
and photographer. and Art Obsessions Gallery, in Truckee, Calif.
demo
A Poured Painting
The technique of pouring watercolors gives a painting
a unique look that features glowing transparent colors.
I create entire paintings by masking and pouring

successive transparent layers of color with little or
no direct brush painting. Most artists use pouring to
create perfectly smooth washes for skies, sunsets and
backgrounds and then complete their paintings using
traditional watercolor techniques. Either way, this is
a fun technique to add to your toolkit. Based on my
own trial and error, here’s my technique for pouring
watercolor—as well as a step-by-step demo.
• Tape the edges of stretched Arches 140-lb. rough
or cold-pressed paper with masking tape. Apply
masking fluid to seal the tape to the paper.
• Draw a detailed picture with an HB mechanical pencil.
• Mask the shapes you want to be white first. Later,
you’ll mask the next lightest shapes, followed by the
next lightest, and so on. Let the mask dry thoroughly
Step 1
I set up the pouring station by placing two plastic cups
each time, but don’t use a hair dryer. upside down in a plastic tub to create support for the
• Mix each color in its own cup. Squirt a dime-sized lower edge of the painting. The upper edge will rest
blob of paint from the tube into the cup. Add on the opposite side of the tub.
approximately one teaspoon of water and mix
thoroughly. Slowly add water to fill the cup as if
you were making a roux.
• Test colors on a wet piece of scrap Arches watercolor
paper. Allow them to dry to observe their true values.
• Wet the entire paper with water.
• Pour up to three colors simultaneously and tip the
paper to direct the movement. Note: Too much color
mixing will result in a neutral color.
• Watch paint dry, catching drips and sopping up
puddles by touching a dry edge of a tissue into the
wet paint and holding it until the excess color wicks
into the tissue.
• Dry at least four hours. The surface shouldn’t feel
cold to the touch.
• Repeat the same steps to create more layers.
Don’t remove your previous mask. Instead, mask
the shapes that are one value darker than the first
layer. Keep repeating this sequence of steps, always
adding more mask until you reach the darkest
values desired.
• Peel all the mask off. Finish with direct brushstrokes
where needed.
Step 2
Next, I prepared the paper by taping the edges. Then I made
Want to learn more? I recommend Jean Grastorf’s a detailed drawing. After masking the white shapes, I poured phthalo
workshops and her book, Pouring Light (North blue (green shade) over the ocean. When that layer was dry, I masked
Light Books, 2009). Also, check out Linda Baker’s the lighter blue shapes and poured another layer of the same blue.
instructional YouTube videos.

Step 4
The rocks required several
pours to complete. I began by
spattering masking fluid to
create texture. After that had
dried, I poured a very light layer
of Hansa yellow medium,
quinacridone red and phthalo
blue (red shade). After the
paper dried, I masked the light
value surfaces of the rocks.
When they dried, I poured
a slightly darker value of the
three colors. I repeated this
process several times, working
from the lightest value rock
shapes to the darkest,
Step 3
S eliminating the yellow at some
point. For the final darkest
Once the ocean pours were completed, I masked right over the darks, I mixed a brew of all
color of the water to protect it while I poured the rock colors. three colors and indigo in one
cup and poured.
Step 5
I removed the masking, which
peeled off easily. I then added
details to the water, painting
Toolkit directly with a brush.
PAPER
• Arches 140-lb. rough or cold-
pressed, 2 inches wider on all
four sides than the image
PAINT
• Daniel Smith: Hansa yellow
medium, quinacridone red,
phthalo blue (green shade),
indigo, phthalo blue (red shade)
BRUSHES
• 2-inch flat, sizes 4, 6 and 8 round
POURING MATERIALS
• large sink or plastic tub, clear
plastic cups for paint mixing,
pipettes, tissues, spray bottle,
water container
MISCELLANEOUS
• Gator Board (or similar),
Incredible White Mask Liquid
Frisket, stapler and staples,
masking tape, mechanical
pencil with HB lead, kneaded
eraser, scraps of Arches 140-lb.
rough or cold-pressed paper
Final
17 Mile Drive View (watercolor on paper, 18x24) is based on a reference photo
I took along the famous Seventeen Mile Drive in Monterey County near Carmel, Calif.
The painting will be exhibited in Sparrow Gallery, in Sacramento, Calif. WA
Have Kit,
Will Travel C E
A
B

A THOUGHTFULLY STOCKED
PORTABLE WATERMEDIA KIT
IS THE SECRET TO SUCCESS
FOR ANY PAINTING EXCURSION.
B eing prepared for any sketching opportunity
means having a compact watercolor and
gouache kit ready to go at any time. Water-
based painting media are compact and adaptable,
and they can be used indoors or outdoors, as long
as the temperature is above freezing. They have the
By James Gurney added advantage of being unobtrusive and easy
to clean up. Over the years, I’ve painted with oil,
acrylic, cel vinyl, markers and other media, but
I keep coming back to watercolor and gouache
G because they play well together. They make it possi-
F ble for me to paint anywhere, anytime—from the
humble waiting room of my car mechanic to the posh
Presidential box seats at the Metropolitan Opera.
Through trial and error, I’ve streamlined my
watermedia kit to the essentials to ensure that I have
the widest range of options available to me via the
minimum amount of materials. Take a peek inside
my kit and see how I use it to create a variety of
sketches and paintings on the fly.
MY PORTABLE KIT
CLOCKWISE FROM UPPER RIGHT
steering wheel attachment for easel
(A); cotton rag (B); pencil sharpener
(C); water cup (D); camera (E);
white gel pen, graphite pencils,
water brushes, water-soluble colored
pencils (F); pencil box (G); belt pouch
J with homemade sketch easel (H);
synthetic brushes, pastel sticks, plastic
container, neutral density filter (I);
K pan watercolor box with 10 colors ( J );
spring clamps (K); watercolor journal
(L); small set of tube gouache (M);
measuring dowel (N)
BUILDING A BRIDGE
FROM DRAWING TO PAINTING
The strategy behind my portable kit is to have at
M the ready a wide array of options to create anything
from a simple pencil drawing to a fully opaque
painting. Each component complements the others,
allowing me to deploy art materials in unusual ways
and at various stages of the process. I might start,
for example, with a watercolor pencil drawing,
then apply big transparent washes, then add a few
opaque touches and finish with crisp highlights,
using a white gel pen.
This mixed-media approach to watermedia is
influenced by my experience as an oil painter,
in which pigments can be applied with a variety
N of media and tools. I’m not concerned with the
traditional definitions of purity in watercolor
practice as long as the results convey the effects
I’m after and are conservationally sound.
WATERCOLOR PENCILS
AND WATER BRUSHES
My smallest kit includes a couple
of watercolor pencils and water
brushes. These easily fit in
a pocket, which means I can take
them anywhere. In the early stages
of a sketch, I use them to generate
washes of smooth tone or to offer
a suggestion of color. After those
washes are dry, I can use them to
deliver a variety of textures.
The palette for sketching people
or animals might include yellow ochre,
red-brown, dark brown and black.
I have two basic water brushes—one
loaded with clear water and the other
filled with black ink. If I add another
water brush filled with water-soluble
brown, black or blue ink, I have even I sketched Galapagos Tortoise (watercolor pencils on paper, 5x7) at the Royal Ontario Museum,
more options available to me, particu- in Toronto. The pigment in the watercolor pencils is held together with a binder that allows for
larly if I’m sketching in tight spaces drawing but can be dissolved by water after the pigment is placed on the paper. I used the brush
to group dark areas together along the bottom of the form. Because the pencils come in many
such as on a moving bus or in a different shades and tones, I can draw lines with exactly the color I want. For example, I used
crowded museum. a lighter gray pencil for the growth rings on the top of the shell and darker gray on its sides.
I did this 20-minute portrait

study of Marc Tocchet
(watercolor pencils and
water brushes on paper,
8x6) using a water brush
filled with clear water and
another filled with black
fountain-pen ink. I applied
the colored pencils at the
beginning and end of the
process. In the first pass,
I placed the main con-
struction lines using the
sides of the pencils and
scumbled some color
across the form. Using
the clear water brush,
I blended the dry pigment
into large washes, starting
in the light areas. Next,
I added the black back-
ground, lightening it with
clear water on the right
side of the face. After those
layers were completely
dry, I added textures and
linear accents in the eyes
and beard.

A SMALL BUT The half-timbered houses of Bourges,
France, were built soon after the
COMPLETE PAN SET great fire of 1487. For Bourges
For basic transparent watercolor, (watercolor on paper, 8x6), I spent
I use a small metal watercolor box, the first hour working out the pencil
drawing in the 8x6-inch watercolor
but I don’t use the colors provided in book (1). I then placed very light
the set. Instead, I switch them out for washes in gray and brown, leaving
an ever-changing group of 10 to 12 the white of the paper in the far upper
pans. When a pan of a given color plane of the central building (2). Next,
runs low, I refill it with tube color. starting with the very dark doorway,
I painted the structure area-by-area
The box, which opens to about 5x8 (3, 4). I completed the entire painting
inches and fits the opposite side of using a ¼-inch flat travel brush. The
a standard watercolor sketchbook, chisel shape can be used edge-on
can hold 12 half pans or six full pans. for a fine line or full-width for wider
shapes, such as the reddish brown
The colors I’m currently using are sill piece at the top of the first floor.
permanent carmine, Payne’s gray, I painted the farther buildings on
ultramarine blue, cerulean blue, the right side with lighter tones to
permanent green olive, gamboge, vignette the subject and create
raw sienna, sepia, Venetian red a sense of fog.
and cadmium red. I don’t need more
options than that. I primarily use
synthetic short-handled flat and
round brushes.
1 2
3 4
GOUACHE KIT
I travel with a small set of gouache
tubes—anywhere from two (black and
white) to 10 tubes—in a plastic bag.
Sometimes I limit myself to a palette
of just three tube colors plus white:
ultramarine blue, yellow ochre, light
red and titanium white. This forces
me to do what I can with those colors.
Note: Although it’s possible to
rewet blobs of gouache that have been
squeezed out and allowed to dry, they
don’t reconstitute into the smooth con-
sistency that they have when they’re
initially squeezed from the tube.
Gouache dries slowly in the

humid conditions of a rainy
day, allowing much more
time for blending the colors.
Once the layers were dry in Rainy Day Outside the Tire Place (gouache on paper, 5x8), I added fine details
to create mood and make the scene more realistic. I used brushes from a short-handled travel set.

ABOVE
When I walked into this supermarket, I was
mesmerized by the produce case. The
oranges, limes and lemons were reflected
in the big mirrors behind them, and I decided
to paint the scene in Produce Case (gouache
on paper, 5x8).
RIGHT
I steered an empty shopping cart to the
apple display and set up my tripod sketch
easel inside the cart. Because the gouache
doesn’t emit a scent and doesn’t make a
mess, I knew I’d be OK working with it there.
I had a little less than an hour to paint. I was
nervous that someone from the store would
ask me what I was doing, but no one said
anything to me. I think the uniform-style
shirt I was wearing—and my purposeful
expression—made it look like I was on
a corporate assignment, so no one
questioned me.
PHOTO BY JEANETTE GURNEY
GOUACHE AND CASEIN
I sometimes use gouache in combina-
tion with casein. Like gouache, casein
is a water-based opaque paint that
dries matte. The milk-protein emul-
sion is stronger than the gum arabic
in gouache or watercolor, but not as
strong as acrylic. The emulsion in
casein keeps the paint from being
sticky or gummy as it’s drying.
Therefore, casein flows more readily
than acrylic off the brush. Casein dries
to a more closed surface than gouache,
meaning the dry paint doesn’t reacti-
vate when it’s wet, unlike gouache. Instead of painting a standard garden vista, for Cinnamon Ferns (gouache over casein on paper,
5x8), I decided to unravel the complicated rhythms of a bank of the backlit plants. I’d already primed
That’s why I use a thin layer of casein a page in my sketchbook with casein in a color referred to as “vegetable green” or “parent green.”
for an underpainting or priming color, This is the standard hue of the transmitted light that filters through new grass or spring foliage.
which I apply in advance. My intention was to cover up most of the underpainting, but allow some areas to peek through.
I painted Alaskan Wolf (gouache with casein on paper, 5x8) from a taxidermy specimen. I started with black and white casein for the background.
Once I’ve painted a background, I don’t want it to change too much. I chose gouache for the wolf because I wanted to be able to reactivate the paint.
That’s the only way to achieve the appearance of soft fur, especially in shadows, such as those under the mouth and on the neck. To create that soft
look, I rewet a postage-stamp-sized area using a flat brush dipped in pure water—really quick, no scrubbing. I can gently coax out softness using
another brush or my finger, or I can drop in a stroke that will blend into a blur. In the areas in which I wanted fine details of fur in the lights and
halftones, I applied gouache with a drybrush technique. I finished with a few touches of light-and-dark-value watercolor pencils.

An Adaptable Homemade Easel
When I paint in my
watercolor sketch-
SPRING CLAMP books, I use a versatile
GRIPPER easel that I built myself
from two pieces of oak
TRAVEL BRUSH SET plywood. It’s extremely
lightweight and easy
to assemble. The top
panel firmly attaches
to a camera tripod.
Clamped to the top
panel is a sketchbook
and a set of short-
handled brushes.
WATERCOLOR
SKETCHBOOK The bottom panel is
attached to the top
panel with two adjust-
able torque hinges,
which can be set to any
angle relative to the top
panel. Hidden magnets
WATER CUP
ATTACHED WITH in the bottom panel grip
MAGNETS PALETTE MADE FROM the palette or mixing
BOX LID PAINTED WHITE surface that’s made
RAG
from a steel cover of
a pencil box enameled
white. I glued magnets
to the bottom of the
water container so
CAMERA that it attaches as well.
TRIPOD
If you search “sketch
easel” on YouTube,
you’ll find some videos
showing the easel and
accessories in action.
Want to build your own easel? Get advice and see other homemade easels at “Sketch Easel Builders,”
a Facebook public group. Makers from around the world share their own constructed variations on my
sketch easel and offer tips, as well as sources for parts and tools.
ALL SYSTEMS GO
While this system is what I’ve found for your next trip. After you’ve film Fire and Ice. He freelanced as
works best for me, it took a lot of returned from several outings in a science fiction paperback cover artist
excursions in which I packed too a row, go through your kit and and painted historical reconstructions
much, not enough or even just the remove extraneous items. Channel for National Geographic. Gurney
wrong items. “Goldilocks and the Three Bears”: co-authored The Artist’s Guide to
If you’re assembling your own You’re striving for not too much or Sketching and is the author and
on-the-go kit, be patient and realize too little, but just right. WA illustrator of Dinotopia: A Land Apart
that it takes time. When you’re From Time, Color and Light: A Guide
on-site and find that you’re missing James Gurney (jamesgurney.com for the Realist Painter and Imaginative
a must-have tool or material, write and @jamesgurneyart on Instagram) Realism: How to Paint What Doesn’t
yourself a note so that you’re sure to was hired out of art school to work as Exist. His YouTube channel features
remember to add the item to your kit a background painter for the animated more than 200 videos.
ABOVE
I was looking east while
sketching Tower Creek in
the Tower Area, Yellowstone
National Park (pencil, ink
and watercolor), sitting on
the bridge above the creek.
OPPOSITE TOP
I sat in my car to sketch
Art in the
Parks
Mt. Moran Turnout in the
Moose Area, Grand Teton
National Park (pencil, ink,
colored pencil and water-
color) since it was raining
lightly that day. This pro-
vided a quiet place in which
to enjoy the beautiful colors
with few disturbances. The
field in front of the Tetons is
filled with sage and grasses.
OPPOSITE BOTTOM
This field sketch, Lower Falls,
Artist Point at the Grand
Canyon of the Yellowstone, THE COUNTRY’S NATIONAL PARKS OFFER
Yellowstone National Park
(pencil, ink and watercolor) EXCEPTIONAL SIGHTS AND SCENERY.
was completed during my
artist residency with
A SKETCHBOOK, BRUSH AND PEN ARE THE PERFECT
Yellowstone Forever. TOOLS FOR DOCUMENTING YOUR EXPERIENCE.
By Suzie Garner
n I was
raduate
ent at
Texas
Uni-
, in
, Texas,
tor and
bacher,
suggested that I sign up for a summer
class he taught in Palo Duro Canyon
State Park, just east of town. The
class met on weekdays with a 7 a.m.
start time to avoid some of the Texas
heat. In spite of that early morning
meeting time, I signed up, and then ABOVE AND LEFT
signed up again the following sum- I painted A Study in Green, Moraine Park,
mer. I was hooked. Rocky Mountain National Park, June 2013
Later, after completing my M.F.A. (ink and watercolor) in a Strathmore
watercolor sketchbook. I sketched it in
degree, I moved to Colorado and about an hour while sitting on a hillside in
accepted a position at Colorado Mesa the Moraine Park area, just across the way
University, in Grand Junction. In my from the Moraine Park Discovery Center
free time, I continued to go outside to on Bear Lake Road at Rocky Mountain
sketch, visiting spots in Colorado, Utah National Park.
and Wyoming. My first efforts were
usually in pencil, in a small sketchbook,
but over time I began to introduce
color to my sketches, using watercolor.

What I Pack
Here are the supplies I carry
with me in a backpack when
I head out to sketch on-site:
• Sketchbook. I don’t have
a brand favorite, but I
always use one with 140-
lb., smooth watercolor
paper. Sometimes I create
my own sketchbooks using
Canson XL watercolor
paper. It’s not the fanciest
or the most expensive
paper out there, but I
absolutely love the way it
feels when I apply media.
• Faber-Castell Pitt Artist
Micron Pens (superfine
nib). These durable pens
Mountain Peaks From the Hollowell Park Picnic Area in Rocky Mountain National Park, 2014
feature acid-free India ink
(ink and watercolor) was painted in a Moleskine watercolor sketchbook as a demonstration. The
that’s archival, waterproof
2¾x12¼-inch sketch was an example of a vignette that didn’t fill the page, showing my class how and quick-drying, making
sometimes you can focus on one particular aspect of a place. You can see where I added a it smudge-proof. I keep a
National Park Passport stamp at the top left of the page. You can usually find these rubber stamps handful of them in my bag
available for use at visitor centers and ranger stations. at all times.
• HB pencil and a hand-
held sharpener. I also use
mechanical pencils with
HB lead. I prefer the
Papermate Clearpoint.
• White Staedtler Mars
plastic eraser or a
kneaded eraser
• Black Gold travel brushes.
I prefer sizes 6 and 8.
• Winsor & Newton Cotman
Watercolor Compact Set
of artist-grade paints
• Small Nalgene water bottle.
I use this both for painting
and for cleaning my brushes.
I prefer this brand because it
I painted View of Longs Peak From the Upper Beaver Meadows Picnic Area in Rocky Mountain doesn’t leak when tossed in
National Park, 2014 (ink and watercolor) on Canson XL watercolor paper as a demonstration for a backpack.
my Rocky Mountain Conservancy course. The sketch is small, approximately 2¼x4¾ inches, which • Tissues or paper towels.
was meant to illustrate that, if you’re short on time, not all sketches have to fill the page. I use these to blot water or
test the colors on my brush.
• Travel stool. This comes in
Drawn to the Parks handy when there are no

comfortable rocks nearby.
In 2009, as a way to share my love of the parks and art, I started teaching local • Sunscreen, water, snacks,
watercolor workshops at the Colorado National Monument, Arches National bug repellent, hat and
Park and Canyonlands National Park. A few years later, I started teaching jacket. It’s best to be
workshops in watercolor, colored pencil and travel sketching at Rocky Mountain aware of current weather
National Park for the Rocky Mountain Conservancy and at Yellowstone National conditions and plan
accordingly.
Park with Yellowstone Forever. These nonprofit organizations act as educational
and fundraising partners for the parks.
I painted Alluvial Fan in Rocky Mountain
National Park, June 2013 (ink and watercolor)
in a Strathmore watercolor sketchbook, while
sitting on a rock, under a bush with one foot in
shallow water. Flooding occurred in the area
later that year, and the spot where I was sitting
to complete this sketch is now gone. You can
still see the Alluvial Fan today, but the rock and
shrubbery were washed away, which has given
the page an extra poignancy. The image at
right shows the view and sketch inked and
ready for watercolor in my sketchbook.
After reading an article on self-directed artist residencies, I was inspired to create my own plan.
I presented it to Yellowstone National Park, which didn’t have an artist-in-residence program at the
time. I’ve been creating my own self-directed residency plans every year since—experiences that
have been essential to my development as an artist.
Refresh, Renew and Recharge

As a studio artist, the primary focus of my art-making is the documentation of the places that I see
and experience. There’s just something about connecting with a place and capturing that feeling in
a sketchbook that fascinates me. This is especially true for me when visiting our national parks and
monuments. I think the intrigue might stem from the many family vacations to national parks when

Go Online for More!
Try one or all 10 of Garner’s exercises or
add-in ideas for your travel sketchbook:
artistsnetwork.com/go/sketchbook-tips
5 Tips for
On-Site
Sketching
These tips—learned from
experience—will help you get the
most out of your sketching
experience, artistically.
Find the line. Use a soft-colored
pencil or 2B pencil to sketch the
subject lightly, capturing the
large masses, contours or
After sketching Terraces Above Mammoth Hot Springs off the Upper Terraces Drive, gestures. You can then go back
Yellowstone National Park, Wyoming (pencil, ink and watercolor), just before I was going to into the sketch and “find the
apply watercolor, a tourist advised me that watercolor was a challenging medium and I’d
have difficulty pulling it off. I showed her some of my other sketches in the same book and she
line” using a darker pencil stroke
then determined that I’d be OK.
or ink to better define the lines
you’re confident in rendering.
Aim for economy in mark-
making. Simplify your mark-
making, avoiding the tendency to
I was a kid. I remember visiting parks and listening to ranger talks—memories draw every detail, like each leaf
that I consider some of my favorites from childhood. or branch on a tree. Including too
many details can make a sketch
Beyond documenting the places I go, sketchbooks serve as a great way to busy, very quickly.
refresh, renew and recharge. The excuse to slow down and spend time quietly
observing and listening is a form of meditation for me. Long after I’ve com- Don’t try to create masterpieces
in the field. Fill a page with small
pleted a sketch, I can remember details about where I was and what I was sketches and gestures. The
thinking about while sketching. What an amazing record to have of a specific overall page will be interesting
moment in time. Keeping this kind of documentation of one’s travels is so regardless of the level of
valuable, especially when you consider that the majority of visitors to our perfection in your drawings.
nation’s parks are taking once-in-a-lifetime trips. WA Creating pages of color
swatches and value scales with
your materials is good practice.
Knowing intuitively what your
Meet the Artist materials will do will help you
when you’re in the field.
Suzie Garner (sketchingspirit.com) is a professor of art and design at Colorado Enjoy the process. If a sketch
Mesa University, in Grand Junction, where she teaches design and illustration. doesn’t work out just right, turn
The artist has studied in Italy, where she developed a sketchbook course for the the page and start another one.
university. She participated in an artist residency in Yellowstone National Park, at Not every sketch or painting you
the Yellowstone Art and Photography Center in the Old Faithful Historical Area, do will be to your liking, but if
and has taught watercolor you embrace the process and
workshops in Arches National the “doing” of it, you’ll be
Park, Canyonlands National Park, happier. Besides, in the long run,
the Colorado National Monument, any practice improves your skills.
Yellowstone National Park and Find your style. Keeping a
Rocky Mountain National Park. sketchbook or journal of any kind
Her artwork has been exhibited is a personal experience. Look at
throughout Colorado and other other artists’ work whose styles
Western states. Garner currently inspire you and try to emulate
offers a university sketchbook them. Eventually, you’ll determine
course that takes students outside what approaches align with your
to sketch at museums, parks and own creative vision.
other outdoor venues, including
the Colorado National Monument.
Personalizing
Your Sketchbooks
Like anything in life, going the extra step can make all the difference
between the prosaic and the inspired. The same is true for premade
sketchbooks and those that you’ve personalized or created by hand.
Here’s how you can raise the status of your own books—or build your own.
By Wendy Shalen With Celia Wedding
A brand-new drawing
or watercolor sketchbook
brings with it a sense
of anticipation and
untapped potential.
A drawing or watercolor
sketchbook that you
embellish or make your-
self—either by collaging
the cover or by assem-
bling the book from
scratch—could elevate
the sketchbook experience
and take on personal
significance as it becomes
your treasured sketching
companion.
California watercolor
artist Celia Wedding has
been embellishing pre-
made sketchbooks and
creating her own by
hand for years, which
she believes adds to the
sketching experience.
She shares her beloved
travel sketchbooks with us—
as well as her tablescape
sketchbooks—and reveals
how she gives them a
creative flourish.
Wedding paints in her

handmade watercolor
sketchbook.

Embellishing Premade Sketchbooks Wedding personalized these premade
watercolor sketchbooks with collaged
covers. She embellished them
“I began the practice of deco- with cut paper strips and
rating portable, purse-sized images. The open book
unlined journals with collaged shows At the Pub (ink on
paper, 3½x5½; open
covers to give them a personal pages, 3½x11).
touch,” Wedding says. “I use
the books as a place for draw-
ings, calendars, lists and
random thoughts.” To decorate
the covers, she affixes hand-
made paper or recycled images
using PVA glue (such as Elmer’s
white glue), a brayer and a
bone folder, followed by two
coats of polymer varnish.
When you’re decorating
your own sketchbook covers,
consider these decorative
options: ephemera, ticket stubs
and other memorabilia, washi
tape, dried flowers, photos,
magazine images, and alpha-
bet or word stickers.
Making
Sketchbooks
“The jump-start for making books
specifically for ink drawing and
watercolor was finding a pack of
Arches 90-lb. hot-pressed watercolor
paper on sale,” Wedding says. She
followed directions in Kathy Blake’s
book, Handmade Books: A Step-by-Step
Guide to Crafting Your Own Books, and
fashioned a perfectly sized 5x7-inch
watercolor landscape sketchbook
using just two sheets of 22x30-inch
watercolor paper. She became
hooked on the bookmaking process.
Wedding has since made books
in a variety of sizes, using different
types of papers that complement
her sketching and watercolor needs.
Her hardbound crafted books open
flat into a landscape format, which
is ideal for her various travel and
tablescape scenes.
Wedding’s handmade
watercolor and ink
sketchbooks feature pasted-
paper covers, fabric bindings
and sewn signatures.
See a demo of Wedding’s bookmaking process.

MAKING BOOK SIGNATURES
To begin, select your paper; drawing, watercolor or printmaking
paper works well, depending on the book’s use.
You can make books any size to suit your painting style. Two sheets
of Arches 90-lb. watercolor paper can be used to make a 22x30-inch
book that can fit 30 or more double-page paintings.
Traditionally, linen tapes are used to secure the pages and covers,
but if you have some woven ribbon, you can use that instead.
Wedding shares her bookmaking tools (right, clockwise from top):

bookbinding needles (although any long needle with a large eye
will work); woven cloth tape or ribbon about ¼-inch wide; strong
heavy thread; lightweight watercolor paper; template made
from scrap paper; bone folder; square; straight edge ruler for
measuring and tearing; bookmaker’s awl (athough any awl will
work if it’s very sharp); and additional watercolor paper.
1 2
3
1. Cut or tear the sheets and fold them in half. A folding bone is useful
for making a sharp fold in each page. Build signatures using the
folded pages by nesting them together in equal groups. (The number
of pages in a signature will be governed by the weight of the paper.)
2. Make a template the same size as the fold of the page. This will
enable you to puncture the signatures so the holes will line up when you
sew the pages together. Punch holes at the top and bottom of the fold
½-inch from the ends and make three more pairs of holes. The space
between the two holes of each pair should match the width of the
hinging tape. The three pairs of holes and the holes at the top and
bottom of the fold should be equidistant apart.
3. Attach the hinging tape to the backs of the signatures by sewing
through the punched holes. Also sew the signatures together at the
top and bottom holes.

TRAVELING STUDIO
TOOLKIT
Surface: Brushes:
BOOK IT handmade watercolor book No. 16 watercolor brush,
⅜-inch gouache brush,
Want to explore the art of handmade Paints (in alpha order): No. 14 round, liner round,
sketchbooks further? There are cadmium lemon yellow,
numerous how-to books available No. 8 round brush, Aquaflo
on the subject; here are a few that cadmium orange, cobalt water pen
Wedding recommends based on her blue, opera, Payne’s gray,
own bookmaking experience: peacock, permanent Miscellaneous:
red deep, quinacridone viewfinder, roll-up brush
Handmade Books: A Step-by-Step
Guide to Crafting Your Own Books burnt scarlet, quinacridone holder, pan for mixing,
by Kathy Blake (Bulfinch Press, 1997) gold, ultramarine blue, sponge, black ink pen
vermilion, viridian
Little Book of Book Making: Timeless or phthalocyanine green
Techniques and Fresh Ideas for Beautiful
Handmade Books by Charlotte Rivers
and Esther K. Smith (Potter Craft, 2014)
Making Handmade Books: 100+
Bindings, Structures & Forms by Alisa
Golden (Lark Crafts, 2011)
Traveling Gets Personal
An intrepid traveler, Wedding has
documented her trips to Hawaii,
Australia and beyond with the spirit
of a 19th-century artist explorer. She
carries her handmade sketchbooks
in her handbag, along with the
essentials she deems necessary for
sketching and watercolor painting
(see “Traveling Studio Toolkit,”
page 59).
Oysters, Kangaroo Island, Australia (watercolor on Arches paper in 5x7 handmade book)
Mermaids, Hawaii (watercolor on paper, 7x20; 8x10 closed book size)
Cradle Mountain, Australia (watercolor on paper, 5x7 each)

Tablescape Sketchbooks
Trolls (watercolor on paper, 5½x15)
Tablescape at Tink’s House (watercolor on paper, 5½x15)
Tea for Two (watercolor on paper, 5½x15)

In addition to handmaking watercolor travel
journals, Wedding also creates watercolor
books that she fills with tablescape water- Wendy Shalen (wendyshalen.com) is an award-winning artist whose
color sketches, usually humorous images work has been featured at numerous galleries, museums and private
of beloved possessions, animal figures and
flowers. Some are sketched quickly while collections. She has taught figure and landscape drawing and painting
others are more studied, depending on how courses for more than 35 years. Celia Wedding (celiawedding.com)
much time she has available. WA works in a variety of media, including watercolor and oil, and covers
a variety of genres, including wildlife, figures, still lifes and landscapes.
Sketching
Siena
SKETCHING ON LOCATION IS GOOD
FOR HONING YOUR ART SKILLS,
My original
sketch of Siena
was created in
a 10x8-inch
Stillman & Birn
Beta series
sketchbook.
BUT IT’S ALSO A PRACTICE THAT
CAN ELEVATE YOUR EXPERIENCE
OF A PLACE. AN AFTERNOON SPENT
SKETCHING ON A SIDE STREET IN One Scene, Five Takes
SIENA, ITALY, BROUGHT HOME When I sketch on location, the scene and events of the
day remain vivid for weeks, months, even years. The
THIS IDEA IN A POWERFUL WAY. practice helps the image become burned into my
heart and mind. Photos are a wonderful tool, but they
seldom capture the emotion of a scene in the same
By Brenda Swenson way that a sketch can.
The sketches on
these pages depict
the same scene in
Siena—each one a bit
hen I was in Tuscany for three weeks last
W fall, teaching plein air workshops, the final

excursion of the trip was a visit to the beau-
tiful Italian city of Siena. After a morning
teaching session, I gave the participants free
time to explore the area on their own before meeting back
at the pickup location. Everybody had a different plan—
from shopping or taking a walking tour, to sketching or
different. I’ve used a
reference photo (at
right) and my original
sketch, done on
location (above).
I’ve drawn from the
emotional experience
as a guide as well.
I plan to do a painting
having a leisurely lunch in a café. eventually, but for
I decided to strike out on my own to seek out a back now I’m trying out
street, perhaps where I could sit and sketch inconspicuously, different surfaces.
observing everyday life in Siena. After walking around for an As you can see,
hour or so, I found the perfect spot. Sitting there, I was able I’m not done
exploring the multitude of ways I can interpret the
to watch kids coming home from school, girls flirting with same scene. Exploring various approaches and
boys and women carrying groceries. Everything I could hope materials is a good way to stretch creative muscles
for! I also had a perfect view of Santa Maria Church, plus and grow in new directions.

In this value study (11x5), I used Bockingford 140-lb. cold-pressed In this version (11x5), I worked on a sheet of gray Canson Mi-Teintes
watercolor paper and Daniel Smith watercolors (lunar black and pastel paper. I like being able to create the lights from the start. I used
Payne’s blue gray). a Pitt artist’s pen in white for the lights on the church and added white
gouache into a wet passage of cobalt blue watercolor in the sky. The
gray paper helped give the sketch a cool, somber feeling.
dramatic lighting and an abandoned doorway where I could repeating the lines over and over, and then she entered
sit out of the way of traffic. I felt so happy. a door across the street.
A couple of minutes into my sketch, however, a car I sat in my spot, half-stunned, and decided to proceed
pulled up in front of me and parked. Looking around at all to make the best of the view I still had. A short time later,
the available parking places on the street, I thought, “Are the woman reemerged from her home. She didn’t say
you serious?” But I held my tongue. The woman who got a word to me, but moved her car forward just a little so
out of the car waved her hands in the air, speaking Italian. I could see better. My heart sank. I wanted to tell her not
I finally heard a few words I understood: “I have to park to worry about me, but I just kept quiet. The day wasn’t
here! I have to park here!” she said. “My husband is com- about me, and I wanted her to forget that I was even there
ing home from the hospital in an ambulance.” She kept and to focus on her husband’s arrival.
LEFT
For this sketch (9x4½), I worked in a 10x8-inch
Stillman & Birn Nova series sketchbook, in
beige. I like the warm beige tone of this
sketchbook paper—perfect for Siena—to show
through. I used a white Pitt artist’s pen for the
light on the building and a Sharpie for the
smaller highlights. I tried the Pitt pen in the sky
but realized the white lines were too harsh, so
I quickly wet the area with water and added
cobalt blue. This is the dance: Try something
new and learn to respond.
OPPOSITE
For this 10x11-inch page of sketches, I used
Bockingford 140-lb. cold-pressed watercolor
paper and started both sketches with an
underpainting. For the sketch on the left side,
I used quinacridone burnt orange and French
ultramarine. Once dry, I drew the image using
a Stabilo water-soluble pen in brown. I like
how the ink dissolves when touched with a
damp brush. The sketch on the right shows
the beginning stage of an incomplete sketch.
I used three colors—raw sienna, cobalt blue
and quinacridone burnt orange—to create
this underpainting.
My Toolkit
ASSORTED PAPER
I like to paint on a variety of papers and surfaces, including
white and toned paper, slick and rough paper, cheap and
expensive paper. Some of the papers I use aren’t even
intended for watermedia, so why do I use them? I’m forever
curious. Boredom is the kiss of death for creativity. When I
paint a subject I’ve previously painted and try it again on a
different surface, the experience is exciting. I enjoy respond-
ing to the new surface. It’s a bit like dancing with a new
partner. For a toned paper, I’ve had wonderful results with
Mi-Teintes pastel paper by Canson, in cream and gray tones.
The paper is easy to work on and responds very similarly
to 90-lb. watercolor paper. The paper is 98-lb. and has a
66 percent rag content, and is gelatin-sized, making it
sturdy. I use less water, so the paper won’t buckle very much.
The paper has two distinct surfaces: one side smooth, the
other textured. I prefer the textured side. a Uni-ball Signo, which are waterproof when dry. I can glaze
Transparent watercolor looks different on toned paper. over the white highlights without lifting. Gouache, on the
A creamy yellow paper, for example, can make blues look other hand, remains water-soluble, like watercolor. Painting
greener, and reds more orange. I find that, overall, the over an area with gouache will cause it to lift. I do keep
underlying tone of the paper creates harmony in the some white gouache (not Chinese white) in a small lip gloss
surface colors. Keep in mind that the surface won’t have container with a screw-on lid separate from the other paints
the same absorbency as watercolor paper. on my palette. I mainly use it in the sky or in final highlights.
I imagine some readers may be raising their eyebrows at
WHITE PAINT, MARKERS AND PENS the idea of adding white to watercolor, which we’ve been
When I paint on a toned paper, I use white marking pens or told is “cheating.” My opinion is that if white was good
paint if I need a lighter value or white. What’s the difference enough for Sargent, Homer and Turner, it’s good enough for
between using gouache or a marker/pen? A white Pitt me. The only time I worry about using it is if I’m entering a
artist’s pen by Faber-Castell has a chunky tip and covers transparent watercolor exhibition. In my sketchbook, it’s my
well. For fine lines, I use a water-based, extra-fine Sharpie or rules. Better yet, no rules!

Meet the Artist
Within a few minutes, an ambulance arrived and then
her adult children, who were there to bring him home.
When I saw the man being lifted out of the ambulance,
I knew he wasn’t coming home to recuperate. He was com- Artist and workshop teacher Brenda
ing home to die. I sat there and attempted to make sense of Swenson (swensonsart.net) is the
author of Keeping a Watercolor
the day. I’d set out to view life in Siena—not the tourist’s Sketchbook and Steps to Success in
view, but real life, and that’s exactly what I’d encountered. Watercolor (Artist’s Library). Her
No matter where we are in the world, life is full of people work has been featured in the
mourning, laughing, crying, loving and aching. That after- competition art books, Splash 11, 12,
noon in Siena was a reminder that it’s the people in our lives 14, 19 and 20 (North Light Books),
who make life special. I walked to a nearby café, ordered and many art magazines. She has
served on the boards for National
a cappuccino and started to write. A quote by John W. Watercolor Society and Watercolor West (WW). She’s a
Gardner came to mind that perfectly captured my feelings, signature member of WW, the Northwest Watercolor
and I wrote it across my sketch: “Life is the art of drawing Society, the San Diego Watercolor Society and the
without an eraser.” WA California Watercolor Society.
artist’s marketplace
Wednesday). Sedona Arts Center. KENTUCKY
WORKSHOPS Contact: 888/954-4442 or 928/282-3809
Judy Mudd
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SANTA FE, NM
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MADELINE ISLAND, WI
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Dan Mondloch ...................... June 22-26
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NEW YORK Jan Sitts and each student selects one instructor for the
Robert Burridge entire week. We alsohave independant Studio
TextureColor.Feeling options for those who wish to paint on thier own
5/3-5/9/20, Greenville. Abstract Acrylic Painting 11/11-11/14/20, Mathew. Award Winning Artist or with friends. Meals and lodging are included.
& Collage. 5-day Painting Workshop (Monday- Workshop. (Commuter option available).
Friday). Hudson River Valley Art Workshop. Contact: Shirley 704/607-6046 Contact: 615/202-0281, [email protected] or
Contact: Kim LaPolla, 518/966-5219 or kanugawatermediaworkshops.com
888/665-0044, PO Box 659, Greenville, NY 12083 John C. Campbell Folk School
Hudson River Valley Art Workshops 4/24-4/26/20, Redenta Soprano, Illustrating Tony Couch, AWS
Botanicals in Watercolor Pencil. $354. 5/11-5/14/20, Greenville.
5/3-5/9/20, Robert Burridge. 4/26-5/2/20, Suzanne DesLauriers, Mountain Contact: 678/513-6676,
5/17-5/23/20, Kellee Wynne Conrad. [email protected]
5/27-5/31/20, Patti Mollica. Spring Landscapes in Watercolor. $630.
5/31-6/6/20, Portraits/Figures. 5/3-5/9/20, Nan Cunningham, Painting with
6/7-6/13/20, Kim Johnson-Nechtman. Authority. $630. OHIO
6/14-6/20/20, Joel Popadics. 5/15-5/17/20, Mary Chapman, Sumi-e Ink Painting. Tony Couch, AWS
6/21-6/27/20, Seth Haverkamp. $354. 7/13-7/16/20, Oxford.
6/27-7/1/20, Desmond O’Hagan. 5/17-5/23/20, Bradley Wilson & Mary Mathias- Contact: 678/513-6676,
7/8-7/12/20, Howard Rose. Dickerson, Traditional & Expression: Push Your [email protected]
7/12-7/18/20, David Smith. Boundaries. $630. Yuki Fine Art
7/19-7/25/20, David Dunlop. 5/24-5/30/20, Billie Shelburn, Fast and Loose Ink 4/18-4/19/20, Cuyahoga Valley. “ Watercolor
8/16-8/22/20, Seth Apter. & Wash. $630. Fresh & Fluid” Contact: 330/928-8092
8/30-9/5/20, Margaret Dyer. 5/31-6/5/20, Robin Popp, Oil Painting-Landscapes 4/25-4/27/20, Cincinnati. “Painting Loosley”
9/6-9/12/20, Retreat Week. without Fear. $564. Contact: [email protected]
9/13-9/19/20, Elizabeth St Hilaire. Contact: John C. Campbell Folk School 5/2-5/3/20, Bay Village. “Capturing the Magic of
9/20-9/26/20, Christine Camilleri. Brasstown, NC 800-FOLK-SCH or Watercolor”
9/27-10/3/20, Richard McKinley. www.folkschool.org Contact: 440/871-6543 or [email protected]
10/4-10/10/20, Skip Lawrence.
10/25-10/31/20, Fabio Cembranelli Robert Burridge
4/7-4/11/20, Alvaro Castagnet 8/3-8/7/20, Boone. Loosen Up with Aquamedia OREGON
5/9-5/15/20, Robert Burridge Painting 5-day Workshop (Monday-Friday) Art In The Mountains
Contact: 888/665-0044 Cheap Joe’s Art Stuff, Boone, NC. 6/15-6/19/20, Bend. Herman Pekel, The
[email protected] or Contact Edwina Ma, Workshop Coordinator Importance of Tone. Oil - plein air and studio. All
www.artworkshops.com 800/227-2788 levels welcome.
6/22-6/26/20, Bend. Herman Pekel, Be Brave and TEXAS Tony Couch, AWS
Have Fun. Watercolor - studio and plein air. All Jan Sitts 6/22-6/25/20, Lac du Flambeau.
levels welcome. Contact: 678/513-6676, [email protected]
6/29-7/3/20, Bend. David Lobenberg, On-The-Go Texture.Color.Feeling
5/25-5/28/20, Flowermound. Studio Art House,
Ink and Wash Sketching. Watercolor - plein air. All
levels welcome. Contact: Jan Sitts Workshop at ART house INTERNATIONAL
7/5-7/8/20 And/Or 7/9-7/12/20, Bend. Amanda CANADA
Hyatt. Studio and plein air- watercolor. All levels WASHINGTON Robert Burridge
welcome. Tony Couch, AWS
7/13-7/17/20, Bend. Fealing Lin, Mixed Subject 4/24-4/28/20, Montreal, Quebec.
Matter. Watercolor – studio. All levels welcome. 10/30-11/1/20, Kennewick. Abstract Acrylic Painting & Collage. Workshop
7/20-7/22/20, Bend. Mary Whyte, Portrait and Contact: 678/513-6676, Location - Hotel 10. 10 Sherbrooke West, Montreal,
Figure. Watercolor – studio. Live Models- clothed. [email protected] Quebec. Contact: 514/889-8191,
All levels welcome. Wait List. Lucie Michel - [email protected]
7/23-7/25/20, Bend. Liz Walker, Suminagashi WISCONSIN CRUISE LONDON TO ATHENS
Marbling: From Patterned Paper to Finished
Painting. Watermedia & Collage – Studio. All levels Judy Mudd Art In The Mountains
welcome. 6/5/20-6/7/20, Prairie Du Sac. “Atmospheric 10/10-10/25/20, London To Athens. Bonnie
7/27-7/31/20, Bend. Joan Fullerton. Studio. Acrylic Landscapes in Watercolor” Learn to paint a
variety of atmospheres in city, land and marine Broitzman, Watercolor. All levels welcome.
and Collage. scenes. Demonstration, discussion and individual Contact: Tracy Culbertson, 503/930-4572
8/1-8/3/20, Bend. Rebecca Sentgeorge, mixed attention. Email River Arts Inc. at kcoopman@ [email protected] or
media, studio, all levels welcome. riverartsinc.org www.artinthemountains.com
8/4-8/7/20, Bend. Pablo Ruben, Watercolor, plein
air and studio, all levels welcome. Madeline Island School of the Arts ITALY
8/10-8/14/20, Bend. Kathleen Conover. 6/15-6/19/20, Madeline Island. Nicki Heenan
Watermedia – studio. All levels welcome. 6/22-6/26/20, Madeline Island. Dan Mondloch Yuki Fine Art
8/24-8/28/20, Oregon Coast. David Taylor. 7/6-7/10/20, Madeline Island. Joe Paquet 9/4-9/12/20, Tuscany. Capturing the Magic of
Watercolor - plein air. Intermediate to advanced. 7/13-7/17/20, Madeline Island. Urban Sketching Tuscany Contact: yukihallfi[email protected]
8/31-9/4/20, Oregon Coast. David Taylor. Summer Retreat 937/6792464
8/17-8/21/20, Madeline Island. Mark Boedges
Watercolor - plein air. Intermediate to advanced. 8/24-8/28/20, Madeline Island. Johanne Mangi
Contact: Tracy Culbertson, 503/930-4572 8/31-9/4/20, Madeline Island. Kathleen Hudson
[email protected] or 9/14-9/18/20, Madeline Island. Patrick Saunders
www.artinthemountains.com Contact: MadelineSchool.com or 715/747-2054 Her Dark Scarf
Andy Evansen, AWS, TWSA, NWS, PAPA Robert Burridge by Jian Wu
3/26-3/29, Portland. 6/8-6/12/20, Lac Du Flambeau. Abstract Acrylic
Contact: EvansenArtStudio.com Painting & Collage. 5-day Painting Workshop
(Monday-Friday) Dillman’s Arts Workshop Retreat
PENNSYLVANIA Lac du Flambeau, WI.
Contact (715) 588-3143 or [email protected]
Art Alliance of Central PA. 6/15-6/18/20, Lac Du Flambeau. Burridge Mentor
6/15-6/18/20, Lemont. Watercolor Landscape Program Dillman’s Arts Workshop Retreat Lac du
Workshop with Chris Leeper Flambeau, WI. Contact (715) 588-3143 or
Contact: artallianceofcentralpa.org [email protected]
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'DYLG /REHQEHUJ-XQH Watermedia
$PDQGD+\DWW[-XO\
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NOW OPEN FOR ENTRIES!
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ROBERT BURRIDGE -RDQ )XOOHUWRQ-XO\ See your artwork in Watercolor Artist!
5HEHFFD6HQWJHRUJH$XJXVW Winners of the 12th Annual Watermedia
• Burridge Studio App 3DEOR 5XEHQ$XJXVW Showcase competition will receive publication
in a 2021 issue, in addition to cash prizes for
• Free Weekly BobBlast .DWKOHHQ&RQRYHU$XJXVW the top-ranked winners. We want to see the
1HZSRUW25 best, so get creative and show us what you’ve
• Current Workshop Schedule 'DYLG 7D\ORU[$XJ6HSW got. Enter before the Early Bird Deadline to
save $5 off the entry fee!
• Workshops in Bob's Studio /RQGRQ$WKHQV&UXLVH:RUNVKRS
%RQQLH%URLW]PDQ2FWREHU Early Bird Regular
Deadline: Deadline:

July 3, 2020 July 31, 2020
0RUH ,QIRUPDWLRQRQRXUZHEVLWH
DUWLQWKHPRXQWDLQVFRP LEARN MORE HERE:
21/,1(5(*,675$7,21 ArtistsNetwork.com/art-competitions/
RobertBurridge.com watermedia-showcase/
HPDLO LQIR#DUWLQWKHPRXQWDLQVFRP

DEADLINE: JUNE 1, 2020 is $50 members and $60 Non-members. Only
CALL FOR ENTRIES The Montana Watercolor Society announces its
38th Annual Juried Art Exhibition, Watermedia
Transparent Watercolor on Rag Paper. Exhibition
from October 10-December 13,2020
2020. Exhibition dates are September 29 – City of Brea Art Gallery, Brea, CA.
DEADLINE: MAY 6, 2020 November 1, 2020 at the Bigfork Art & Cultural Visit http://www.watercolorwest.org for
San Diego Watercolor Society 40th Center in Bigfork, Montana. Juror is Iain Stewart. prospectus and information
International Exhibition, October 1-30, 2020. Over $5000 in awards. For Prospectus, go to
Open to all watermedia artists. Online entries www.montanawatercolorsociety.org or contact
only beginning February 7, 2020. Juror, Michael Kristin Dahl Triol, Watermedia Show Entry Chair DEADLINE: JUNE 30, 2020
Reardon. For more information and to view the [email protected] Pennsylvania Watercolor Society 41st International
prospectus visit www.sdws.org. $19,000 in cash (805) 402-8212 Exhibit, Banana Factory Arts Center, Bethlehem,
and merchandise awards anticipated. PA, September 26-November 1, 2020. $14,000+ in
nationalwatercolorsociety. Awards and Merchandise. 1st Place $1750. Juror
DEADLINE: JUNE 8, 2020 of Selection: David R. Smith AWS, NWS. Juror
Women in Watercolor International Online
DEADLINE: MAY 13, 2020 Juried Competition. Enter online April 1- June 8,
of Awards: Douglas Wiltraut AWS. Prospectus:
Location: LA 51st Annual River Road Show pawcs.com
2020. $5500 total minimum cash awards plus
A national juried exhibition sponsored by Art Guild merchandise awards. $35/1st entry and $15/ Thank you for your support with our community
of Louisiana. Open to all U.S. artists 18+ (except additional entry up to 5. Online competition of artists.
photography, digitally enhanced or non-original for women working in watercolor medium. For
prints). Work must be original, 2 dimensional and
created within the last 2 years. Juror: Soon Warren,
prospectus and online entry information go to DEADLINE: JULY 1, 2020
www.WomeninWatercolor.com Kentucky Watercolor Society Aqueous USA 2020,
AWS, NWS. $40 for first 3 entries (maximum
10). $4,000+ in cash and merchandise awards. 43rd Annual Juried Exhibition, September 8-
Exhibit is August 3-September 24, 2020 at the DEADLINE: JUNE 15,2020 November 1, 2020.
Louisiana State Archives Gallery, Baton Rouge, 52nd Annual Watercolor West International Juried Actors Theatre, Louisville, KY. Juror: Anne
LA. Prospectus on website; artguildlouisiana.org/ Exhibition, Online Call for Entries Only Abgott. Awards of cash and merchandise.
river-road-show Contact: Claudia LeJeune 225- Juror Iain Stewart. Approximately $20,000 Cash For more information and prospectus visit
292-2004 or [email protected] and Merchandise Awards. Entry Fee for 1-2 entries kentuckywatercolorsociety.com
Jan Sitts
Mixed Media
Philadelphia Workshops
Watercolor Society
Capturing the Magic 120th International Exhibition
of Tuscany Of Works on Paper
Entry Dates: April 1 - July 1, 2020 Texture, Color Feeling
Painting and sketching vacation workshop Deadline is July 1, 2020
in Florence & Trequanda, Italy Exhibition Dates: Oct. 23 to Dec. 7, 2020
Book available
September 4 ~ 12, 2020 with Yuki Hall, TWSA Location: West Chester University, West Chester, PA [email protected]  www.jansitts.com
Total awards in exess of $8,500.
A trip of a lifetime for artists & art enthusiasts, Juror of Selection: John Salminen
combining Renaissance art, history, culture, Juror of Awards: Stephen Quiller
watercolor painting, and Tuscan cousin and wine! Download prospectus at:
https://pwcs.wildapricot.org
www.yukihallfineart.com • yukihallfi[email protected] For additional information contact:
(937) 679-2464 [email protected]
Weeklong classes in painting,

drawing, mixed media and more.
JOHN C. CAMPBELL FOLK SCHOOL
folkschool.org 1-800-FOLK-SCH
BRASSTOWN NORTH CAROLINA
Don’t miss your chance to

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Watercolor
Mary McLane 970-290-6065 Master Artist Workshops
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Bev Jozwiak, AWS, NWS
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Bev’s Complete 4 day Workshop
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HUDSON RIVER VALLEY ADVERTISER’S INDEX

ART WORKSHOPS Andy Evansen ............................................... 67
Learning, Laughter, Aquarelle Studios And Galleries.................70
and Friendships in an
Art Alliance of Central Pennsylvania .........70
Inspiring, & Inviting
Environment Art Guild of Louisiana..................................69
Art in the Mountains ................................... 68
Craftivity, Inc. ...............................................66
Call Toll-Free 1-888-665-0044
Creative Art Workshops ..............................70
Robert Burridge May 3-9, 2020 Golden Artist Colors ................................... C4
Kellee Wynne Conrad May 17-23, 2020 Golden Peak Media ........................ C2,3,5,C3
Patti Mollica May 27-31, 2020
Hudson River Valley.....................................70
Portraits/Figures May 31-Jun 6, 2020
Kim Johnson-Nechtman Jun 7-13, 2020 Huntsville Museum Of Art...........................69
Joel Popadics Jun 14-20, 2020 Jan Sitts .........................................................69
Seth Haverkamp Jun 21-27, 2020 John C. Campbell Folk School ....................69
Desmond O’Hagan Jun 27-Jul 1, 2020 Judu Mudd ....................................................70
Howard Rose Jul 8-12, 2020
Kanuga .........................................................70
David Smith Jul 12-18, 2020
David Dunlop Jul 19-25, 2020 Kentucky Watercolor Society .....................69
Seth Apter Aug 16-22, 2020 Montana Watercolor Society .....................69
Margaret Dyer Aug 30-Sep 5, 2020 Pennsylvania Watercolor Society ..............69
Retreat Week Sep 6-12, 2020 Philadelphia Watercolor Society ...............69
Elizabeth St Hilaire Sep 13-19, 2020
Robert Burridge Studio .............................. 68
Christine Camilleri Sep 20-26, 2020
Richard McKinley Sep 27-Oct 3, 2020 San Diego Watercolor Society ...................69
Skip Lawrence Oct 4-10, 2020 Tony Couch...................................................69
Alvaro Castagnet Apr 7-11, 2021 Watercolor West ..........................................69
Robert Burridge May 9-15, 2021 Women in Watercolor .................................69
Yuki Hall Fine Art ..........................................69
artworkshops.com

The Quiet of Passing Steps
by Robin S. Nyikos
Call for Entries

Strokes of Genius 12 THE BEST OF DRAWING
Specialize in drawing? This competition is for you! First Place Winner $2000
From quick contour sketches to carefully rendered Second Place Winner $1000
drawings with a full range of values, Strokes of Genius
Third Place Winner $500
showcases the best of the best in a variety of styles
Select number of honorable mentions
and subjects. Award winners will be published in a
special edition magazine, coming to newsstands in
Early Bird Deadline: May 1, 2020
2021. Enter before the Early Bird Deadline to save
$5 off the entry fee! Regular Deadline: June 1, 2020
LEARN MORE HERE: artistsnetwork.com/art-competitions/strokes/
A divis ion of G o ld e n Pe a k M ed i a
Open Book
Bending the Rules

Artist Rae Andrews (raeandrews.com) enjoys flouting the
rules of perspective, using deliberate distortion in her work
to capture a distinct vision. “I take great liberties,” she says,
“tilting and slanting structures, so buildings have an odd and
uncertain stability. Imagination plays a part in this, too, as
I might choose to add various embellishments—a telephone
pole, stonework or bricks—whatever works.” Andrews always
keeps a sketchbook or camera on hand to capture flashes
of inspiration. In this case, it was a side street in the hilltop
town of Comares, in Spain, that captured her attention.

Art sts Competition Annual Art
ARTISTSNETWORK.COM
Magazine
Put your masterpiece in the spotlight! 2020

The Entomologist
by Todd Casey
$24,000 in Cash & Prizes

With Special Awards for Students!
Artists Network’s largest competition of the year is now open for entries! Early Bird Deadline:
With 5 subject categories and all traditional media accepted, there’s a place April 2, 2020
in this contest for your masterpiece to find the spotlight. Enter before the Regular Deadline:
Early Bird Deadline and save $5 off the entry fee! May 1, 2020
LEARN MORE HERE: ArtistsNetwork.com/art-competitions/artists-magazine-annual/

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ALL-TERRAIN CREATIVE VEHICLE.

GOLDEN introduces QoR® mini, a half pan watercolor set

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ŻLearn more with QoR video

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Want to see your artwork in Watercolor Artist? Early Bird Deadline:

LEARN MORE HERE: ArtistsNetwork.com/art-competitions/watermedia-showcase/

Get Social Summer Veranda, England (detail;

2 Watercolor artist | JUNE 2020

From meditations in the studio to trending colors, urban sketchers and

A lthough A. A. Milne was

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I knew a grand VP, FINANCE Jordan Bohrer

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PHOTO BY CARA HUMMEL; A. A. MILNE: HULTON ARCHIVE/STRINGER/GETTY IMAGES

4 Watercolor artist | JUNE 2020

Win Prizes & Publication!

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6 Watercolor artist | JUNE 2020

3000 Color Mixing

8 Watercolor artist | JUNE 2020

Another piece of art from the infamous Gurlitt Collection

PHOTO: KULTURSTIFTUNG SACHSEN-ANHALT

HEARTS CLUB BAND”

E astern culture intrigued

10 Watercolor artist | JUNE 2020

Guardians of Time (2009; watercolor on paper, 23x23)

It’s About Time I began my art career as a graphic

12 Watercolor artist | JUNE 2020

14 Watercolor artist | JUNE 2020

16 Watercolor artist | JUNE 2020

Try this at home

18 Watercolor artist | JUNE 2020

“ The artist yields

20 Watercolor artist | JUNE 2020

22 Watercolor artist | JUNE 2020

illustrators from that era—Dean

Turn for a demo

24 Watercolor artist | JUNE 2020

26 Watercolor artist | JUNE 2020

28 Watercolor artist | JUNE 2020

order out of this kind of visual confu-

30 Watercolor artist | JUNE 2020

Turn for a demo

SEEING THE WORLD IN A NEW LIGHT

Summer Veranda, England

32 Watercolor artist | JUNE 2020

MORE TIPS FOR PAINTING SHADOWS

Seeing the World

1985, he introduced her to his Aunt Betty.

36 Watercolor artist | JUNE 2020

of directors. I’d never been on a board before, but it seemed Remembering

38 Watercolor artist | JUNE 2020

Turn for a demo

South Fork on the Yuba River

Meet the Artist

Sandy Delehanty (sandydelehanty.com)

I create entire paintings by masking and pouring

Deadline: Deadline: