WATERCOLOR ARTIST-February - 2017

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February 2017
58 30
features columns
22 The Many Moods of 10 Creativity Workshop
the Mediterranean Create the look of batik in six steps.
Enza Viceconte pays close attention BY HELEN BROW N
to detail in her paintings of the sea.
BY BRETT ORTLER 16 Studio Staples
Try these six clever painting hacks.
30 A Fine Balance BY JESSICA CANTERBURY
Olga Litvinenko paints with an
economy of color and layers.
BY KELLY KANE
40 18 Meet the Masters
Get to know William Trost Richards.
BY TAMER A LENZ MUENTE
40 Elevating the House Cat
Yael Maimon’s dynamic approach 75 Watercolor Essentials
captures the spirit of the feline. Use value to achieve dramatic
BY MICHAEL GOR MLEY lighting and color.
BY KATHLEEN S. GILES
48 Making a Scene
Nadine Charlsen imbues her
landscapes with a sense of drama.
BY S T E FA N I E L AU F E R S W E I L E R
IN EVERY ISSUE
Editor’s Note 2
58 The Year’s Best Paintings Featured Artists 4
Prizewinning artists share the Making a Splash 6
secrets to their success.
BY JESSICA CANTERBURY
22 Picture This 88
Watercolor Artist (ISSN 1941-5451) is published six times a year in February, April, June, August, October and December by F+W Media, Inc., 10151 Carver Road, Suite 200, Blue Ash OH 45242;
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Watercolor Artist | February 2017 1

editor’s note
FEBRUARY 2017
Editor-in-Chief Kelly Kane

Art Director Wendy Dunning
Managing Editor Jessica Canterbury
A s this issue goes to press, my
team and I have just wrapped
up jurying our annual Watermedia
Senior Editor Beth Williams
Showcase competition (look for
ADVERTISING
the results in the April issue!), so
Vice President/General Manager Jamie Markle
[email protected] thinking about what makes one
Advertising Team Leader, Fine Art Mary McLane painting stand out from another is
970/290-6065; [email protected]
very much on my mind. It was with
Media Sales Specialist Carol Lake
385/414-1439; [email protected]
great interest, then, that I watched
Media Sales Coordinator Barb Prill the winners from the various 2016
800/283-0963, ext. 13435; watercolor society exhibitions come
[email protected]
in for “The Year’s Best Paintings”
F +W, A C O N T E N T + EC O M M E R C E C O M PA N Y feature (on page 58) and read the comments from this year’s jurors.
Chief Executive Offi cer Thomas F.X. Beusse
Although the paintings deemed the best vary wildly in style, technique
Chief Financial Offi cer Debra Delman
Chief Operating Offi cer Joe Seibert and subject matter, they all have one thing in common—that something
Chief Technology Offi cer Joe Romello special that caught the jurors’ interest (in many cases from the very first
Chief Content Strategist Steve Madden
glance) and held it. Beyond technical prowess, these paintings exhibit an
VP, Manufacturing & Logistics Phil Graham
Newsstand Sales Scott T. Hill often indescribable quality that catapulted them to the front of the pack.
[email protected] Whether you’re painting for the pure enjoyment of it or hope to see
EDITORIAL OFFICES your work in next year’s lineup of prizewinning paintings, the tips on
10151 Carver Road, Suite 200, Blue Ash, OH 45242 how to catch a juror’s eye (page 71) may spark your next creative break-
513/531-2222; [email protected] through, or at least give you markers by which to critique your own work.
SUBSCRIPTION SERVICES Of course, there’s no “right answer” to selecting a painting for Best in
P.O. Box 421751, Palm Coast FL 32142-1751 Show. A different juror, or even the same juror on a different day, may
US/Canada: 800/811-9834
come up with very different results.
Foreign subscribers: 386/246-3371
watercolorartistmagazine.com What’s your take on this year’s selections? Send an email to wcamag@
Back issues are available. For pricing information or to order, fwcommunity.com with “My Take” in the subject line. Include the title
call 855/842-5267, visit northlightshop.com/art-magazines/
of the painting that caught your eye from this issue’s roundup of
watercolor-artist, or send check or money order to F+W
Media Products, 700 E. State St., Iola, WI 54990. Specify prizewinners—and a line or two telling us why—and we’ll announce the
Watercolor Artist and the issue month and year.
painting that gets the most responses in the next issue. Plus, we’ll
N E W S S TA N D D I S T R I B U T I O N randomly select one “My Take” entrant to receive a copy of Splash 17:
Internationally distributed by Curtis Circulation Co.,
Inspiring Subjects, a compilation of exhilarating watercolors.
730 River Road, New Milford, NJ 07646.
Tel: 201/634-7400. Fax: 201/634-7499. Thinking critically about what makes a painting work—whether it’s
Attention Retailers: To carry Watercolor Artist in your stores, your own or someone else’s—can be a great learning tool. I hope the
contact Shawn Metts at 513/531-2690, ext. 11257. lessons you learn from studying the work in this issue put you on the
P R I VACY P R O M I S E path to meeting your painting ing goals.
Occasionally we make portions of our customer list
available to other companies so they may contact you about
products and services that may be of interest to you.
If you prefer we withhold your name, simply send a note
with the magazine name to: List Manager, F+W Media, Inc.
10151 Carver Road, Suite 200, Blue Ash, OH 45242.
Printed in the USA

Copyright © 2016 by F+W Media, Inc.
All Rights Reserved.
Watercolor Artist magazine is a Please share your questions and comments by writing to
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Watercolor Artist, Letters, 10151 Carver Road, Suite 200, Blue
Ash, OH 45242. Or, email us at [email protected].
2 watercolorartistmagazine.com
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featured artists
Helen Brown Nadine Charlsen Kathleen S. Giles

hbrownart.com nadinepaints.com kgilesstudio.com
Helen Brown (page 10) lives in Sunriver, Ore., Nadine Charlsen (page 48) is an urban land- New York artist Kathleen S. Giles (page
and exhibits her watercolors at the Tumalo scape watercolorist and instructor based in 75) is a signature member of the National
Art Company, in Bend, Ore. The former Asheville, N.C. Her behind-the-scenes Watercolor Society, Watercolor USA Honor
French-teacher-turned-artist uses a batik theater career spanning 40-plus years has Society, and the Pennsylvania and Niagara
process to achieve luminous, transpar- enabled her to translate her knowledge of Frontier watercolor societies. Her art, defined
ent paintings. She’s a member of the High light, shadow, scale, color and texture to by strong values and colorful shadows, has
Desert Art League and the Watercolor paintings of artistic drama inspired by what earned national recognition. She teaches in
Society of Oregon. she sees through her camera lens. the United States and Canada.
Olga Litvinenko Yael Maimon Enza Viceconte

bit.ly/olga-litvinenko yaelmaimon.com enza-viceconte.it
Olga Litvinenko (page 30) lives and works Israeli artist Yael Maimon (page 40) is best Enza Viceconte (page 22) studied at the
in St. Petersburg, Russia, where she known for her series of cat paintings and Academy of Fine Arts in Florence. Today she
graduated from the I. Repin State Academy enjoys working in a variety of media: water- lives on the Mediterranean island of Elba in
Institute of Painting, Sculpture and color, pastel, oil and acrylic. Her paintings Tuscany, Italy. Her work has been included in
Architecture. While still a student, she are grounded in realism, yet impressionistic, exhibitions around the globe, including the
began exhibiting her work and winning and traditional, yet contemporary. Her work Shenzhen International Watercolour Biennial
awards. Her paintings are now held in has been featured in numerous exhibitions in China and the American Watercolor
private collections around the world. and has received international recognition. Society’s 149th Annual Exhibition in New York.
Splash
making a
Maximum Liquidity
Britain chooses its first artist to spotlight on a banknote.
© T H E G O V E R N O R A N D C O M PA N Y O F T H E B A N K O F E N G L A N D 2 0 1 6
This is the image

concept for
the new £20
note. Turner
rarely signed his
paintings, so the
signature featured
was taken from his
will—in which he
bequeathed his
paintings to the UK.
C onsidered the greatest British

landscapist and watercolorist
of the 19th century, J.M.W. Turner
The Bank of England used a
community-driven selection process
that began in 2015, when the public
worlds,” said Bank Governor Mark
Carney at the public announcement.
“His influence spanned his lifetime
(1775-1851) has another claim to was asked to suggest visual artists to and is still apparent today.
fame: He’ll be the first visual artist feature on its paper money. From the “The quote, ‘Light is therefore
pictured on a British bill—the next 29,701 nominations—suggesting 590 color,’ is from an 1818 lecture by
£20 note, which will begin circulat- different visual artists—a commit- Turner,” he continued. “It refers to
ing by the year 2020. The banknote tee from the Bank, along with public his innovative use of light, shade,
will feature a self-portrait backed by focus groups, chose Turner. color and tone—one example of his
an image of his 1839 painting, The “Turner’s work was transformative, unquestioned contribution to the
Fighting Temeraire. bridging the classical and modern visual arts in Britain and beyond.”
Watercolor News & Views
BY J E S S IC A C A N T E R BU RY
different strokes
Admittedly, we adore watercolor. With a bold stroke
of the brush, you can plant a tree in a landscape,
build rich color with a series of transparent glazes, or
suggest the existence of an object by simply paint-
ing around it—it’s magic! But what about other ways
to use the medium? One idea currently on our minds
(thanks to Pinterest and Instagram) is brush letter-
ing with watercolor. Not practical for your fine art
purposes, you say? What about a birthday card for a
loved one? A gift tag for a sold painting? This could
be the activity that breaks you out of a creative slump
and puts you back on the path to your next master-
piece. Find some mark-making tips from our sister
publication Cloth Paper Scissors here: bit.ly/wc-hand-
lettering and here: bit.ly/wc-lettering-tips.
Art and photo by Emily Cromwell, from Cloth Paper Scissors

Lettering Lessons Vol. 11, 2016
Legends in the Palm

of Your Hand “Fine art is that
Need a shot of inspiration? Try 1000
Watercolours of Genius (Parkstone,
in which the hand,
December 2016), by art historian
and journalist Victoria Charles. At
the head and the
544 pages, this 8x6½-inch hard- heart of man go
cover ($24.95) includes text on the
history of watercolor painting and together.”
the masterworks of the greats: —John Ruskin
Albrecht Dürer, James Abbott McNeill
Whistler, John Constable, John Singer
Sargent, Vincent van Gogh, Wassily
Kandinsky, Paul Klee, Egon Schiele
and more—992 more, to be exact.
parkstone-international.com

must-see show
© THE TRUSTEES OF THE BRITISH MUSEUM
John Singer Sargent’s View From a Window, Genoa, 1911 (watercolor and oil over graphite, 15 4⁄5x20 4⁄5) features stronger color and more
painterly effects than those typically seen in watercolor landscapes of the “Great Age of British Watercolors.”
London and early Modern period—as Henry Moore. Also showcased are
More than half of the 125 watercolors opposed to the “Great Age of British the period’s new forms of realism,
on display in The British Museum’s Watercolors,” which supposedly died abstraction and metaphor to create
latest exhibition have never been pub- along with J.M.W. Turner in 1851. more emotional views of the land-
lished or shown before, which more The featured paintings range scape—John Singer Sargent’s joyous,
than qualifies Places of the Mind: from highly colored, detailed Pre- colorful view from a hotel among
British Watercolour Landscapes 1850- Raphaelite attempts by George Price them (above).
1950 (on display February 23 through Boyce and Alfred William Hunt to Published to coincide with the
August 27) as a must-see show. freer brushstrokes and sweeping exhibition is an illustrated book by
The selection of works from the wash sketches painted en plein air the same name ($29.95; Thames and
Museum’s own collection highlights by James Abbott McNeill Whistler Hudson, March 2017), edited by exhi-
the ways artists interpreted land- and Philip Wilson Steer, to abstrac- bition curator Kim Sloan. british
scape on paper during the Victorian tions by Graham Sutherland and museum.org
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12. Modern Printmaking—Planographic
13. Sculpture—Salt Cellars to Monuments
14. Development of Painting—Tempera and Oils
15. Modern Painting—Acrylics and Assemblages
16. Subject Matters
17. Signs—Symbols, Icons, and Indexes in Art
18. Portraits—How Artists See Others
19. Self-Portraits—How Artists See Themselves
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creativity workshop
BY H E L E N BROW N
Resistance Training
Apply a batik treatment to your work by manipulating
paper, paint and paraffin.
F or the last four years, I’ve painted

almost exclusively on rice paper
using a batik technique that gives
my paintings an appearance not imi-
table by using traditional methods.
Originally used in Java, Indonesia,
batik is the practice of producing
colored designs on textiles by dyeing
them after having first applied wax
to the areas to be left undyed. When
used on textured paper with paraffin
and watercolor, the process provides
a wonderful texture without any
additional effort. My move to batik on
rice paper has produced a luminous
effect thanks to many thin layers
of paint and wax, and my paintings
now have a looser feel to them.
I’m reminded that it was in
Watercolor Artist (August 2011) where
I first learned of the batik painting
method for watercolor. I was familiar
with dyeing fabric using a wax resist,
but until Kathie George wrote about
her use of the procedure, I hadn’t
considered it for watercolor. Follow
along as I share how I use this
approach to achieve the look of batik.
Batik Basics
Step 1: I tape a sheet of wax paper,
or freezer paper, to a board (see page
12). I then place the rice paper over
it, smooth side up. I lightly draw my
image, in this case, a duck on water,
on the smooth side of the rice paper I like to work in series, and A Quiet Day (watercolor batik on paper, 24x18) is included in my
using a black waterproof pen. I then Lewis & Clark tribute that features sites in Montana and Oregon that the Corps of Discovery
may have seen along its expedition from St. Louis in 1804. I used yellow ochre, new gamboge,
“paint” on the rice paper with molten
cadmium orange and sap green for light and middle values, and made my darks with French
wax (heated in a miniature crock pot) ultramarine blue and cadmium red.
onto the areas I want to remain white.
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creativity workshop
2 3
Next, I apply two faint washes Step 2: I wax the white mark on
of blue and violet over the initial the duck’s face and portions of its Hive Alive (watercolor batik on paper, 34x12) is
wax layer. I apply a second coat of body, as well as some horizontal part of my “Struggling Species” series. I love
pattern, and this honeycomb motif, along with
the wax to protect the next lightest lines in the lake. Because I’ve pro-
the bees’ striped bodies, caught my attention.
color in the painting. The paraffi n tected areas with the paraffin, I don’t It features a limited palette: yellow ochre, new
will dry almost instantly. have to paint carefully around the gamboge, French ultramarine blue, cadmium
red and a splash of cobalt teal.
If I can’t easily see where I’ve light spots. Here you can see where
placed the paraffi n, I just slip a the blue paint is being resisted by
piece of black construction paper the wax I applied in the lake area. continue waxing each successive
under the wax paper; the paraffi n Step 3: At this stage in each layer, light area and painting in the darks,
outlines will show up better over I tape the paper up on my bookshelf which can require up to 12 layers of
the black surface. to let it dry. I then remove it and paint and paraffin.
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artistsnetwork.com/the-artists-magazine-annual-competition
creativity workshop
artist’s toolkit
• Paper: Any kind of rice
paper will work, but my go-to
option has little stick-like
flecks in it and is quite strong
despite its fragile, transpar-
ent appearance; newsprint;
watercolor paper; black
construction paper
• Watercolors: Winsor &
Newton and Daniel Smith
• Paraffin: I buy paraffin at the
grocery store and then melt
it in a miniature crock pot
that I bought at a garage
sale for $5. The wax doesn’t
heat to the temperature of
4
combustion in this little pot,
so I’m comfortable using it
for long periods.
• Brushes: I only use inexpen-
sive brushes. Between the
heat and the wax, they’re
ruined after a few paintings.
• Misc.: wax paper, waterproof
pen, iron, newspaper, credit
card, matte medium, roller
5a 5b
Step 4: I brush over the entire

try this at home surface with paraffin and let it dry.
Create a batik painting using this technique. Send a JPEG (with a Step 5: After placing a sheet
resolution of 72 dpi) of your painting to [email protected] of newspaper on my rice paper,
with “Creativity Workshop” in the subject line. The “editor’s choice” I begin melting the wax using an
will receive a subscription (or renewal) to Watercolor Artist. The iron on high heat (5a). I then remove
entry deadline is February 15. Catch up on the Creativity Workshop the newspaper, slide the painting
activities you’ve missed at artistsnetwork.com/articles/inspiration/ between two sheets of absorbent
creativity/creativity-workshop. newsprint and iron the painting again
until I can see wax seeping out and
getting absorbed into the newsprint
Beauty in strength.
QoR ® Watercolor
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6
©2016 Golden Artist Colors, Inc., New Berlin, NY 13411
Emerald Art Center

Watercolor WORKSHOPS
In Oregon’s beautiful Willamette Valley
Barrows Goldeneye (watercolor batik on paper, 4x6) features

cerulean blue, cobalt blue and French ultramarine blue, with sap Aman — Mar 11-12 Kurtz — Mar 16-18
green and burnt sienna for the darks.
Emerald Art Center

(5b). I repeat this process at least four times to ensure that offers a wide variety of
all the wax is removed. workshops year round.
Step 6: I adhere the batik to a piece of 300-lb. water-
color paper. (I only do this step if I want the painting to Check them out on our
lie really flat in a frame.) I do this by using an expired Website:
credit card to spread matte medium over the watercolor www.emeraldartcenter.org
Jozwiak — Apr 27-29
paper. When I’m sure the liquid is spread evenly, I place
the painting onto the paper and top it with a sheet of wax For information or to register for workshops:
paper before going over it with a roller. I carefully remove 541-726-8595
the wax paper and let the painting dry flat, as I did with 500 Main St., Springfield, OR 97477
This project made possible in part by a grant from
Barrows Goldeneye (above).

studio staples
Watercolor Hacks
Save time, save money and give an old item new purpose with these
six ideas—because easier and more efficient are qualities you need in
your painting routine.
7 Backyard Mark-Makers
If texture has any role in your watercolor painting, you
probably own some not-so-traditional art tools. Dawn
Beedell, art instructor and founder of ARTPAD art studio in
Lancashire, England, holds an experimental mark-making
workshop to offer artists “a wider repertoire of mark-
making techniques that can add texture and interest to
their work,” she says. “These tools were made using twigs
and bamboo sticks discovered in the garden and found
items such as teasel heads, wool, tinsel, cardboard and
herbs, which were then tied to the sticks. Some items also
can be used just as they are, like lids and toothbrushes.”
1 Non-Masking Paint Remover 1 Minty-Fresh Travel Palette

The Mr. Clean Magic Eraser is a workhorse around the You might’ve known the Altoids tin is the perfect size for
house, but many watercolor artists love it for its ability to a travel watercolor palette, but what about using chewing
remove paint—even when it’s completely dry—without gum containers within it to hold your watercolors? (The
damaging the paper. Found in grocery and drug stores, gum packaging has to be the blister-packed kind, such as
this little sponge can be used to correct unwanted marks that for Orbit White, Trident White and Dentyne Ice.) Add
or to add detail in the later stages of a painting. a water brush and a sponge, and off you go.
BY J E S S IC A C A N T E R BU RY
7 Kitchen and Medicine

Cabinet Helpers
Your next travel palette might be as
close as your kitchen junk drawer.
Those day-of-the-week pill boxes?
They’re the perfect size for travel
palette wells. Also, plastic butter lids
can do double duty as mixing areas,
and plastic photo film canisters (if
you still have any) can be put to new
use as on-the-go water cups.
Foam Noodle as Brush Holder 5

This fun flotation device has many
practical uses outside of the pool,
from preventing children from fall-
ing out of the bed to acting as the
base for a wreath. Artists can make 1 Remedy for Loose Hake
use of the noodle (or foam pipe insu- Brush Hairs
lation), too: Simply cut notches in “I love my bamboo hake brush,” says
its side to make it a brush holder. If watercolorist Birgit O’Connor. What
using foam pipe insulation, you can she doesn’t love, however, are the
also make one cut lengthwise and hairs it sheds, so she has devised
rest it on the rim of your square or a quick fi x: “First, remove as many
rectangular water container. loose brush hairs as possible. Then
apply a little Krazy Glue along the
bottom of the bristles just along the
bamboo handle. Using a toothpick
or needle, work the glue deeper into
the center of the hairs. The glue
should only travel about one-fourth
of an inch up the hair—just enough
so it can penetrate into the center of
the hair. Let the glue dry thoroughly
before using the brush.”
Show us your own #watercolorhack on
Instagram! Tag us @artistsnetwork. JESSICA CANTERBURY is managing
editor of Watercolor Artist.

meet the masters
Luminous Landscapes
One of the most revered landscape painters of his time, William Trost Richards
helped raise the profile of watercolor painting in America.
I have never seen any mountains

that were so lovely and refined
in color and form,” William Trost
even you.” On every page of this long
letter, Richards quickly and economi-
cally sketched mountain landscapes
also helped foster watercolor’s
popularity in America. At the
beginning of his career, he occa-
Richards wrote to his wife in 1878. He including one he described as “from sionally used watercolor in outdoor
had just climbed to the top of Wales’ the top of Snowdon,” in which craggy studies for studio oil paintings.
Mount Snowdon during a two-year peaks surround a deep valley, with By the late 1850s, he became part
European stay. “I got some new ideas clouds rolling above. The drawings of the American Pre-Raphaelite
of mountain effects and I think there and his words bubble with excite- Movement, which championed
were many that would have pleased ment, revealing his passion for painting in watercolor. In 1866,
the landscape. Richards made his fi rst trip to
London, where he studied the mas-
An Artist in Earnest terful watercolors of J.M.W. Turner
P H OTO C O U R T E SY W I L L I A M VA R E I K A F I N E A R T S , N E W P O R T, R . I .
Richards had shown an interest in at the National Gallery. That same

working directly from nature at a year, artists founded the American
young age. A boyhood friend noted Society of Painters in Water
that they’d ramble around the coun- Colors (later called the American
tryside, “I to fi sh, and [Richards] Watercolor Society). Richards began
with sketching material.” In the showing watercolors in its annual
early 1850s, Richards worked as a exhibitions in 1869.
metalwork designer, and in his free By about 1870, the American
time sketched outdoors along the Watercolor Movement was in full
Schuylkill and Wissahickon rivers swing. In part, the smaller size and
outside Philadelphia. In 1854, he left affordability of watercolor paint-
his job and rented a studio, happily ings fueled their popularity with
announcing in a letter to a friend, “I middle-class buyers. Most
am an Artist in earnest.” American painters were exhibit-
While building his reputation ing watercolors in addition to oils.
William Trost Richards as a landscape painter, Richards By the end of the movement in the
(American, 1833–1905)
June 3, 1833 1850 1854 1857 1866 1869

Born in Studies with Travels to New John Ruskin’s Takes first trip Exhibits
Philadelphia the German York and meets The Elements to London and watercolors
landscape several Hudson of Drawing is studies Turner’s for first time at
painter Paul River School published; its last watercolors; the American
Weber painters three chapters American Society Watercolor
discuss the of Painters in Society (AWS)
significance of Water Colors is
watercolor founded
BY TA M E R A L E N Z M U E N T E
P H OTO : G EO F F R E Y C L E M E N T S ©T H E M E T R O P O L I TA N M U S E U M O F A R T / A R T R E S O U R C E , N Y
Richards’ Lake Squam From Red Hill (1874; watercolor, gouache and graphite on light gray-green wove paper, 87⁄8x139⁄16) resulted from a 10-day
sketching trip in New Hampshire’s White Mountains with his patron, Elias Lyman Magoon.
mid-1880s, a Brooklyn newspaper maintains his proud pre-eminence, Tramps, Sketchings and
reported, “Today there is hardly an whether he dissolves his genius in Picture-Makings
artist of any reputation in oil in the water or oil.” By this time, Richards’ While sketching in Atlantic City,
United States who is not devot- landscape and seascape paintings N.J., Richards met the clergyman
ing a certain portion of his time had made him one of the most and art collector Elias Lyman
to watercolor painting.” The same revered watercolor artists in the Magoon. Five years after their
paper noted, “William T. Richards United States. meeting, Magoon wrote to Richards,
1870 About 1870 1874 1885 About 1885 Nov. 8, 1905

Meets minister American Spends first George Whitney American Dies in Newport,
and art collector Watercolor summer in dies, and 87 Watercolor R.I.
Elias Lyman Movement begins Newport, R.I.; of Richards’ Movement ends
Magoon; Whistler, Homer watercolors are
Philadelphia and Eakins first auctioned from
manufacturer exhibit at AWS his estate
George Whitney
becomes a patron

meet the masters
“That fi rst interview, so frank and high above, much like the perspec- the gallery in which the watercolors
simple, was an event the most tive in the aforementioned Mount would hang: “Bookcases are going up
pleasing of the kind I have ever Snowdon sketch. The bird’s-eye round the base … from there to the
experienced. What chats, tramps, view allows the land to spread out ceiling, crimson drapery will be hung,
sketchings … and picture-makings in an impressive expanse, lend- relieving your gems, all of which are
we have since perpetrated!” Indeed, ing the approximately 9x13-inch in new frames.” Magoon envisioned
their relationship led to a stun- watercolor a monumentality typi- a lasting legacy for Richards, writing,
ning body of work, with Magoon cally reserved for larger works. The “Art in America will grow, purer and
purchasing scores of watercolors distant mountains appear in a bluish grander as the eons go by … but we
from Richards over the course of a haze, the sun glistens on the water’s were in at the start!” After the artist’s
decade. still surface, yellow edges the violet and patron’s deaths, the museum
In 1872 and 1874, Magoon clouds that stretch to the horizon. sold many of the watercolors. Several
financed trips for both men to the While accurately portraying his sur- remain in the museum’s collec-
White Mountains. A Philadelphia roundings with great detail, Richards tion, however, and continue to be a
minister, Magoon had been born also creates a contemplative mood testament to Richards, who was once
and raised in New Hampshire. He infused with golden light that bathes one of America’s most prolific and
paid Richards $100 a day to pro- the land just before sunset. admired painters of landscape
duce watercolor sketches that In 1880, Magoon donated 85 of in watercolor.
the artist would later turn into a Richard’s watercolors—includ-
portfolio of finished watercolors. ing Lake Squam—to New York’s TAMERA LENZ MUENTE is assistant
Part of this series, Lake Squam From Metropolitan Museum of Art, which curator at the Taft Museum of Art in
Red Hill (on page 19) is a luminous had just moved to its current loca- Cincinnati and author of The Boy at the
view of an island-filled lake from tion. He wrote to Richards, describing Museum (Tableaux Publishing, 2014).
John Hewitt, WHS

WHS - Watercolor Honor Society
• 27 year teaching career at Pacific Union
College
• TWSA Signature Membership
• Recognized as painting “one of the 27 best
paintings of 2015” by
Watercolor Artist Magazine
• 20 years experience conducting workshops
in Europe
2017 Workshop Schedule:

• April 25-28, 2017 – Flaming Gorge,
Utah $400
• May 19-21, 2017 – Coos Art Museum,
Coos Bay, Oregon $350
• June 19-23, 2017 – Fort Bragg,
California $350
• September 28 - October 18, 2017 –
Greek Isles and Crete $4000
(includes all expenses except airfare)
For more information go to • October 23-28, 2017 - Yosemite
www.johnhewittart.com Check out John’s new book

“Paint The Mendocino Coast”
Contact for workshop in your area. available on Amazon for $35
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Many
The
Moods of the
Mediterranean
Enza Viceconte’s stunning waterscapes evoke myriad scenes of the sea.
BY B R E T T O R T L E R
W
hen you first encounter Enza serene caves with mirror-still water, cobble
Viceconte’s watercolors, your initial beaches with waves pouring forth, and the raw
thought might be, I need to go on power of 5- or 6-foot breakers slamming onto
vacation. And who would blame you? Her the shoreline.
primary influence is the sea, and her work “I really love the sea, its rocks and its natural
is often suffused specifically with the idyllic light,” Viceconte says. “The silent and private
blues of the Mediterranean Sea. language I share with the sea has always been
As a watercolorist, Viceconte finds water to a source of inspiration for me.” The artist
be essential to her work, and it also serves as the doesn’t have to travel far for that inspiration:
subject and spiritual wellspring of her creative She lives in Tuscany, on the famed island of
output. She paints the sea in all its moods: Elba, which has been her home for years.
Viceconte’s use of multiple washes in Water Games (watercolor on paper,
31½x47¼) enables her to capture the many colors of the sea while staying true
to the lines of motion.
On previous pages:
Viceconte’s work is incredibly precise. In Encounters (watercolor on paper, 30x45),
she doesn’t miss a detail, even though the subject matter is replete with them.
artist’s toolkit
• Paper: Fabriano Artistico fine-grained 300-lb., 100-percent
cotton paper for medium-sized works, and rolls of fine-
grained 80-lb. for larger works
• Brushes: Winsor & Newton brushes made with marten fur
(sizes 12, 8, 4, 2 and 00). When she uses synthetics, she
opts for Escoda and da Vinci.
• Paints: Viceconte’s work owes its brightness and chromatic
clarity to the relatively small number of colors she uses.
She turns to Winsor & Newton tube paints, as she says they
preserve freshness. She primarily uses aureolin, rose mad-
der, cobalt, ultramarine, burnt sienna and Payne’s gray. With
aureolin, rose madder and cobalt, she creates the tones of
warm or cool gray that are the foundation of her work. With
ultramarine, burnt sienna and Payne’s gray, she shades and
depicts darker areas.
in art, and she then attended the legendary

Accademia di Belle Arti di Firenze. An arts
powerhouse since 1563, it was founded by
Cosimo I de’ Medici—the Grand Duke of
Tuscany and a major patron of Renaissance art.
The school is associated with such luminaries
as Michelangelo (1475-1564). This sense of his-
tory is never far away, as Michelangelo’s David
is located in a gallery just a block away.
Viceconte warmly recalls her time at the
academy as the “best period in my life.” She
Steeped in the Renaissance was 18 years old, and attended courses in
Viceconte began her career as an engraver, the mornings and a teacher’s studio in the
specializing in etching and aquatint, while also afternoons. It was there that she learned the
painting with oils and acrylics. She only began painting techniques that have been passed
working with watercolors later, though she down at the academy since the Renaissance.
quickly found herself at home in the medium She especially appreciated the multidisci-
and has worked in it exclusively for more than plinary approach through which she learned a
two decades. wide variety of methods and styles, from the
The artist attributes a large part of her secrets of distemper to fresco painting.
success to her formal training. She studied at Perhaps unsurprisingly given her academic
an upper secondary school that specialized background and the art history of Florence,

Viceconte achieves the sunlight effect in Reflections (watercolor on paper, 40¼x30¼) by saving
the whites of the painting surface and painting around them.
“The places I paint represent nature itself, but also
feelings and emotions that connect me to them.”
The Voice of the Sea

Viceconte cites a number of Renaissance artists and how a “quick change of the winds” can (watercolor on paper,
as influences, and she has dedicated a good transform a site entirely. 30x45) homes in on the
Mediterranean Sea itself
deal of time to producing verisimilar copies Viceconte’s attention to such meteorological
as it crashes against the
of Renaissance works to master chiaroscuro detail is important, as a scene can materialize rocks. Multiple layers
and other Renaissance painting techniques. or disappear suddenly. Her familiarity with the of glaze help Viceconte
achieve the shimmering
Viceconte points to Albrecht Dürer (1471-1528), landscape and the winds helps her recognize
effect.
in particular, as an inspiration. After five years and capture details that other people may not
at the academy, Viceconte finished her studies even notice.
and then won a grant to study in Urbino, where
she studied xylography and engraving. It’s in the Details
When heading to a locale, the artist carries a
The Winds of Change Winsor & Newton paint set in a godet. Once she
In the end, the siren song of watercolor pulled finds herself drawn to the colors around her and
Viceconte away from all other media and lured has found the right atmosphere—she stresses
her to the shore. “The places I paint represent that she has to “feel” that the place is right—she
nature itself, but also the feelings and emotions notes the colors present, taking photos with her
that connect me to them,” Viceconte says. tablet computer, drawing a chiaroscuro sketch
When she selects her subject, she pays close in graphite (taking care to divide the space into
attention to the weather, especially the prevail- sections) and painting just the sea.
ing winds on Elba’s beaches. In fact, she often
chooses where to work based on the dominant Bask in more of Enza Viceconte’s odes to the
winds that blow there. She enjoys painting the sea at artistsnetwork.com/medium/watercolor/
Mediterranean in part because of its mutability enza-viceconte-watercolor-seascapes.
The Sound of the Sea
(watercolor on paper, Back in the studio, where she does most the entire Fabriano painting surface, saving the
31½x39½) is Viceconte’s of her painting, she refers to the photos on whites of her paper by painting around them.
tribute to the cadence
of the waves, which she
the tablet and notes reference points. While She then dries the paper with a hairdryer and
says bewitch her. Viceconte doesn’t like altering images digitally, applies the next glaze—for example, the horizon
she does keep her tablet in front of her while line, but leaving the sky lighter. As she layers
working to view details. When painting, she’s and dries each wash, the sea becomes darker.
not strictly photorealistic; instead, she often In all, she glazes the scene about 10 times,
changes or tweaks some of the details, produc- changing the tone a little with each layer; this
ing a painting that describes, if not reflects, is how she ensures that each wave is defined
the original landscape. carefully. She teaches this process to workshop
To achieve the best reflection of light, the students by using transparent plastic sheets,
artist paints a light wash of cobalt blue over which enables them to follow along step by
The artist captures some of the inherent grace, mystery and danger of the sea by
painting subjects like the sea cave in The Mystery Groove (watercolor on paper,
40x27½). The architectural locale no doubt attracts the curious and adventurous,
but can also turn dangerous with a sudden shift in the weather.
step. Viceconte notes that this painting method enjoys traveling a great deal. Last summer, she
requires patience, as it’s time-consuming. She went to Norway, where she toured the fjords,
attributes her success to her training as an watched the sea from a clifftop perch and
engraver; in fact, this is why she uses a No. 00 became enchanted by the sky.
paintbrush to draw each tiny element. With Since her return home to Tuscany, Viceconte
such attention to detail, it takes Viceconte about has begun to paint the Norwegian landscapes,
two weeks to complete a medium-sized water- saying, “I really need to visit the places I paint.
color and up to three months for a larger one. It’s not just a matter of taking a photo. I need to
live them.”
Beyond the Mediterranean
While many of Viceconte’s waterscapes are BRETT ORTLER (brettortler.com) is an editor,
based in inspiration close to home, the artist author and freelance writer based in Minnesota.

A Fine
BALANCE
With a self-control borne out of
experience, Olga Litvinenko knows
when to forge ahead and when to
scale back in glowing watercolors
that express her love of city life.
BY K E LLY K A N E , E D ITO R - I N - C H I E F
I
’m not a transparent watercolor purist at heart, but you don’t get
to my position without a passion and immense appreciation for
what a few thin veils of paint and water can do. The moment one
of Olga Litvinenko’s watercolors popped up in my Facebook feed, I
was hooked.
She and I chatted recently about her secret to making watercolors
that glow, the Russian masters who first inspired her to pick up a
brush and her affection for St. Petersburg, the city that inspires her.
Painted in an impressionist style, St. Petersburg Evening (watercolor on paper, 16x24) captures the last rays of the sun over the Nevsky
Prospekt. “When I’m in the studio, I like to do a number of sketches before attempting any painting as complex as this one,” says Litvinenko.
“Along with providing a roadmap for how to proceed, a sketch like the example [at left] helps to loosen my hand and warm me up for tackling
the larger painting.”

To explore the contrasts
inherent in an artificially Kelly Kane: For me, your watercolors represent the layer in 40 to 60 minutes. In general, however,
lit cityscape at night,
best the medium has to offer—the fluidity and trans- it takes me five to six hours to complete a
Litvinenko used a
combination of warm parency of the colors, as well as a fresh, spontaneous painting using several layers.
and cool colors, and look. How would you describe your painting style?
light and dark tones in
Olga Litvinenko: I try to let my watercolors KK: How do you keep your layers of color so fresh
Lights of St. Petersburg
(watercolor on paper, glow—to live their lives, so to speak. I want to and vibrant?
16x24). catch the beautiful moments, convey a warm OL: To fi nd the color I want and to keep
glow of light, and create a world on the edge it fresh, I don’t use a lot of paints in a mixture—
between dream and reality. Maintaining the a maximum of two to three. Very often, I brush
freshness of transparent watercolor is most pure colors on a wet surface and allow them to
important to me. mix directly on the paper, foregoing a palette
altogether. The important thing when mixing
KK: Your loose brushwork makes it feel as if the paint is to keep the mixture from becoming
paintings were created spontaneously. How do you too dense by diluting it with the appropriate
achieve that effect, and how long does it actually take amount of water.
you to complete a painting?
OL: As I work, I don’t like to fully control the KK: You take excellent advantage of complementary
paint. Also, although I draw some areas thor- color schemes (particularly blues and oranges).
oughly, I leave other elements quite sketchy. Do you have a specific set of colors that you like to
I really like the effect of this combination use, or do you approach each subject with a unique
of techniques. How long I work on a piece color palette?
depends on the task that I set at the beginning OL: I have a favorite color palette: cadmium yel-
and also on the mood I’m trying to create. For low, ochre, cadmium orange, sepia, purple and
a half-sheet, I can complete a painting in one ultramarine. I like to play with contrast—the
“Souvenir on the
Road [watercolor
on paper, 24x19]
was inspired by a
scene I encoun-
tered at Vitebsky
Station,” says the
artist. “I made
a few sketches
and took photos
on site, which I
used as reference
material later in the
studio. I especially
liked the girl, who
sells a variety of
souvenirs, maga-
zines and other
items. She can be
seen every day at
the same place.
Nothing changes
for her, not even
the people who
appear as shadows
as they pass by.”
combination of light and dark—which makes the painting is cold, I’ll add warm color accents,
the overall effect of the painting bright and and vice versa. Many of my watercolors employ
spectacular. I choose the colors for each a warm color scheme, featuring gold and
painting based on what the individual subject orange tones. These colors are very close to my
demands. If the predominant temperature of character; they project positive energy and joy.

Petersburg Baroque
(watercolor on paper,
22x15) depicts the
facade of Beloselsky-
Belozersky Palace in St.
Petersburg. The palace
is a typical example
of the mature Russian
Baroque XVIII architec-
ture, although it was
built in the next century.
The facades are deco-
rated with colonnades
and representations
of the Atlanteans.
“Beloselsky-Belozersky
Palace has long been
considered one of
the most beautiful
private buildings of St.
Petersburg and,
of course, has inspired
many artists,” says
Litvinenko. “The
motivation for me in this
piece was the portrayal
of the Atlanteans, pre-
served eternally in the
gorgeous sculptures,
and eternal love.”
KK: Line also plays a key role in your work. OL: I’ve been painting for long enough that
OL: I use line as a finishing touch in my knowing when to stop is instinctual. When
paintings to emphasize the dynamics of the I’m painting complex scenes, it’s necessary
composition or direct the viewer’s eye to the to balance the number of elements I include
desired point. and bring to completion. If I paint too many
details, the work may become too busy and
KK: Your subjects are often complex. How do you hard to digest. If I don’t include enough, I leave
know when you’ve reached the right amount of detail? a feeling of incompleteness. My best advice
Staro-Nevsky Prospekt (watercolor on paper, 16x26) showcases one of the oldest and most famous streets in
St. Petersburg, where each house is unique. “On a walk one morning, I made a little sketch,” says the artist. “I wanted to
capture the very beginning of the day on the avenue. To convey the freshness of the morning, I used mostly cool colors—
blue, ultramarine, cold pink—saving the warm colors for the first rays of the sun as they glided over the awakening town.”
for artists struggling to find the appropriate need the help of reference photos to draw
amount of detail to include in their work is to individual objects accurately, such as architec-
study the paintings of other artists whose work ture, trees and roads, so I take a lot of pictures
feels natural and effortless. on my walks as well.
KK: Where do you find subjects that interest you, KK: After you’ve worked out your composition in
and how do you collect reference material? sketches, do you draw the image on your watercolor
OL: Walking around the city and observing the paper before you apply any washes?
interesting stories of urban life is the pursuit
that has captured my attention at the moment.
I make a lot of small drawings and sketches of
city scenes—as well as specific architectural artist’s toolkit
details—both in the open air and in the studio. • Paper: 140-lb. Saunders Waterford and Arches (sheets and
To start, I make a small thumbnail in my half sheets)
sketchbook that reflects my first impression of
• Brushes: Escoda Nos. 8, 10, 12, 14 and 18 rounds; Holbein
a subject; I use color and loose compositional
¾-inch flat and 3-inch hake
elements to capture the emotions and feelings
I experience during my initial encounter with • Paints: Leningrad, Winsor & Newton, Schmincke and Mijello:
the scene. In the studio, I’ll create a number yellow medium, gold ochre, orange, red light, ultramarine
of lively and varied renderings of the subject. blue, violet deep, raw sienna, sepia, indigo, Payne’s gray
I use the most successful elements of these
sketches as the basis for a painting. But I also

1 2 3
maintaining balance
Getting off to the right start means everything to the way I work. In the first stage, I immediately try to capture the
mood that I’ll develop in the following phases. If I’m happy right from the start, then I know that most likely the
painting is going to turn out all right.
Step 1: Because I want to portray my lightest lights and darkest dark Step 5: I begin to add the details
morning time in this piece, I start early in the painting process. that will bring the painting to life.
with very light colors, primarily I paint additional figures to balance
light purple, ultramarine and a cold Step 3: I continue painting the the composition.
pink. I want the tower to dissolve background buildings. Their tone is
gently in the background, to be slightly darker than the tower. Final Step: I paint a large
almost transparent. foreground shadow in cool colors—
Step 4: To spice up the story, I add ultramarine and cadmium yellow—
Step 2: Here, I begin to weave in trees and paint a few more figures and add a warm yellow reflection
a story by adding a figure in the heading into the background. The of the sun in the center to com-
foreground. At this point, he’s the figures’ implied movement directs plete Valencia (watercolor on paper,
darkest spot on the painting. With the viewer’s gaze to the center, 22x15).
his addition, I’ve established both which is already well delineated. —Olga Litvinenko
OL: I often start with a pencil drawing on my with light ochre so that the lines won’t be vis-
watercolor paper. As a professional artist, ible under my watercolors. Other times,
I believe that the foundation of a good painting I intentionally leave the pencil drawing showing
is a solid compositional structure. Sometimes in places to produce a more graphic look; what
I go over my pencil marks with a brush loaded I do depends on what effect I want to achieve.
Tour more of St. Petersburg in Olga Litvinenko’s lively KK: Do you use masking at this point to protect
cityscapes at artistsnetwork.com/medium/watercolor/ the white of the paper, or do you paint around your
olga-litvinenko-watercolor-cityscapes. white shapes?
4
OL: A long time ago, I tried using masking fluid will turn out better, I promise. Your watercol-
to preserve white spaces on my paper, but I ors will be more alive and spontaneous, and
didn’t like it and never used it again. I believe therefore unique.
that relying on masking liquids and tapes can
be harmful to the artist, especially the begin- KK: Do you paint alla prima or in stages?
ner, as he pursues his watercolor training. We OL: I love painting alla prima or in stages
need to trust our hands! It’s better to learn wet-into-wet, which seems perfectly suited to
to paint around white space without the aid watercolor. In any one painting, I may com-
of masking tools. With practice, the results bine wet-into-wet applications with areas of

wet-on-dry painting, where I may glaze two to
three layers—never more than that—depend-
ing on the effect I’m going for in a given
section. For busy urban landscapes, I typically
paint in stages, starting with the background
and moving forward.
KK: What about watercolor particularly appeals

to you?
OL: Although I’d been dabbling in watercolor
since I was a child, I worked mainly with pen
and ink when I was a student and for a long
time after. With age, my priorities in terms
of artistic expression have brought me back
to watercolor. It’s an amazing medium with
infi nite possibilities, and I’ve been using it
professionally for eight to 10 years.
Night Fires (watercolor on paper, 17x24) portrays the same location as Staro-Nevsky KK: Do you remember the first great painting that you
Prospekt (on page 35) and Lights of St. Petersburg (on page 32), but with a warmer color
saw, perhaps as a child, and the effect it had on you?
scheme and more dynamic composition. “The crisscrossing wires reinforce the feeling
of movement and guide the viewer’s eye to the center,” says Litvinenko. “I left out some OL: I clearly remember one moment from my
architectural elements in both the sketch and the finished painting, so that the picture early childhood when I first saw the great
wouldn’t be overloaded with unnecessary details.”
watercolors of Vasily Surikov [1848-1916] and
Mikhail Vrubel [1856-1910], two of our greatest
Russian artists. For me, it was a revelation;
watercolor painting took possession of my
imagination and occupied the whole of my
attention. Soon after, I asked my mother to buy
me some paint, because I desperately wanted
to make copies of the masters’ work, as far as
I was capable back then. A few years later, I
entered art school.
KK: What advice would you give to an artist just

getting started?
OL: Many beginners focus so intently on learn-
ing the techniques of watercolor painting that
they forget about the most important thing—
their unique expression of an image, which
gives the painting its soul. Thinking about the
techniques should be secondary.
Every artist has his or her individual vision,
distinctive style, character and originality— “Built in the Art Nouveau style, St. Petersburg’s Vitebsk Station inspired Railway
Station [watercolor on paper, 16x24],” says the artist. “I admire the architecture and
the ability to create a unique world. If you
interior decoration of this historic building. I captured the rough design of the structure
paint with your heart, even if you have in my sketchbook and added the details that made the scene come to life in the
poor equipment, people won’t notice these finished painting.”
shortcomings and will only see the beauty
of your paintings.

An impulsive streak and an awakening social
consciousness led Yael Maimon to her true calling:
capturing the feline form.
BY M I C H A E L G O R M LE Y
Cinematic-like cropping
A
and lifelike gestures are s an earnest and impressionable college Chapel ceiling—especially the hand of God
two of the techniques
student living in Israel, Yael Maimon reaching out to touch Adam’s hand. It made
Maimon employs in
Be My Guest (watercolor suffered a heart not yet hardened me think a lot about the connection between
on paper, 16½x27) against the inhuman travesties seemingly God and humans, and somehow I found the
to create a moment of
overrunning the planet. Affronted with the strength to fight for what I wanted.”
animated anticipation—
a key narrative device media blaring global injustices, including
that inspires viewer terrorism threats, gender inequality and Painting the Obvious
participation and
animal cruelty, Maimon felt a deep desire to Resolved to move forward, Maimon began
conjecture.
take action and inspire change. studying in Israel with oil painter Amnon
On previous pages:
“I started volunteering at a local animal David Ar in 2005 and subsequently attended
Maimon suppresses
rescue shelter,” she says. “Granted, it doesn’t Margaret Dyer’s pastel workshop and Eugen
rendering and modeling
in her paintings—but sound like much, but I felt empowered. Shortly Chisnicean’s watercolor workshop, both in
achieves a sense of thereafter, I developed a special bond with the France. “I studied hard and learned fairly
realistic depth and
shelter’s cats. quickly how to paint and draw, but I was con-
graphic impact through
high tonal contrasts and “At the same time, I was completing an fused about what to paint,” she says.
tight cropping, as in Low undergraduate degree in psychology and was A veterinarian friend from the animal
Profile (watercolor on
intending to pursue a career in that field,” shelter suggested that Maimon paint what was
paper, 14½x19½).
Maimon continues. “As graduation approached, obvious to her instead of trying to discover
I came to the realization that I was unhappy the next big thing. “So I started working on a
with that choice. The summer after graduation, series of cat paintings,” she says. “Since volun-
I became obsessed with taking a trip to Rome. teering at the animal shelter, I’ve devoted my
I told myself—and others who questioned home to the care of abandoned kittens. Cats
my sudden travel plans—that I had to see the are my fi rst circle of close friends. I love them;
Sistine Chapel. My parents were against the they give me daily inspiration.”
trip—and my interest in art altogether. As
a child, I had wanted to be an artist, but my Finessing the Feline
family didn’t consider it a ‘real profession.’ To “Cats are intelligent creatures, and they
them, it was a stupid hobby that would likely make excellent studio models,” the artist
ruin my life. says. “They’re simply fascinating animals,
“I went on that trip anyway, and it was so it’s both fun and a challenge to capture
a turning point in my life,” Maimon says. their facial expressions, gestures and body
“I was captivated by Michelangelo’s Sistine language on canvas or paper.” In this vein,
Economy of means is an
Maimon’s work can be viewed as both por- Maimon would have them no other way— essential ingredient in
traiture and genre painting, so deftly does she they’re her beloved muses, and her paintings Maimon’s watercolors.
Her paintings look and
capture both the individual character and the betray a keen study of all things feline. Pearl,
feel right because she
more generalized nature of her subjects. for example, sits perfectly poised, with that exploits the medium’s
To communicate the latter, Maimon avoids typical cat stare that looks out into the dis- unique characteristics,
such as transparency
kitschy anthropomorphic treatments. Instead, tance while seemingly dismissing (by looking
and fluidity. Her loose,
she prefers to offer lifelike portrayals such as through and past) all that’s present in her minimalist approach
Feral (on page 44) and Pearl (on pages 44 and immediate surroundings. works well for depicting
the shimmering effect of
45). Both remind us that felines consistently The painting, Low Profile (on pages 40 and 41),
goldfish swimming in a
fall outside the confines of social strictures depicts a cat on its haunches while eating, dem- barely there bowl in The
and their historical depictions (see “The Cat in onstrating that approximating a cat’s pose and Goldfish No. 5 (water-
color on paper, 14x13).
Art History” on page 45). These household pets gesture imparts far more truth than homing in
have never quite given over to being tamed. on minute detail.

With notable simplicity, Maimon captures a character type or specific mood. In Feral
(watercolor on paper, 15½x11), the cat’s squinty deadpan stare is unmistakable. through the use of sandpaper, sponges, paper
towels and even her fingernails.
Though preferring a representational style that’s essentially realistic, Maimon takes
considerable risks with expressive color choices that lend her work a contemporary Maimon paints in her bedroom, which
look. A warm cerulean blue bathes Pearl (at right; watercolor on paper, 19x14) and spills doubles as her art studio. “It’s quite simple and,
over to form a cast shadow and lively painted background.
to be honest, not very well-organized,” she says.
“I don’t own a sophisticated easel or high-
Addressing the What-Ifs quality studio equipment, and it’s not a large
The artist achieves her colorful, dynamic space. But I get to wake up every day right in
felines with her go-to Rembrandt and Stephen my studio. It has a large window that lets in
Quiller watercolors, as well as a handful of a lot of natural light, which I love. I’ve hung a
Winsor & Newtons and Holbeins. She opts not big map of Rome, which has special meaning
to use masking products, instead recovering to me since it was on my first trip there that
white areas of paper or removing excess paint I committed to being an artist. I’ve also hung
the cat in art history
“The only escape from the miseries of life are music and cats …”
—Albert Schweitzer
P R I VAT E C O L L EC T I O N / P H OTO © C H R I S T I E ’ S I M AG E S /
B R I D G E M A N I M AG E S
Sleeping Cat; Schlafende Katze (1905; watercolor on pencil and paper,
3x5½) by Paul Klee (Swiss, 1879-1940) pays artistic homage to a feline
in blissful repose.
Our feline friend has a long and notable iconic presence

that dates back to ancient Egypt—when wild cats first were
domesticated. Fierce predators of rats and other vermin that
wreaked havoc in the royal granaries, cats were highly prized
allies in the maintenance of Egypt’s agrarian economy.
Once domesticated, cats were protected by harsh penal
laws that included punishment by death for killing one—even
accidentally. That zealous protectiveness eventually evolved
into worship as cats ascended to the ranks of the divine.
Imagined as a half-feline, half-woman goddess named Bastet,
cats were depicted as bejeweled idols in hieroglyphics and
cast in bronze for display in temple precincts and burial
chambers. Some, like the pharaohs themselves, were
preserved as mummies.
In Western Europe during the Middle Ages, the reputa-
tion of cats took a precipitous dive. In keeping with the
dark superstitions of the time, they were often depicted as
symbols of the devil in illuminated manuscripts and Christian
devotional texts.
By the 17th century, however, cats had regained their good
standing, and masters such as Peter Paul Rubens (Flemish,
some of my paintings on the walls—some I like, 1577-1640) included them in interior compositions as meta-
some I’m not happy with and others I’m trying phors for domesticity and motherhood, albeit with an innate
to figure out how to save. predilection for licentiousness.
“I feel that the final stage of a painting is Continuing in their popular ascent through the 19th
the most challenging,” Maimon says. “This century with artists such as Pierre-Auguste Renoir (French,
is the point where an artist can turn a bad 1841-1919), and onward to the present day with headliners
painting into a masterpiece or overwork it to such as Jeff Koons (American, 1955- ), cats moved center
ruin. When a painting is close to being finished, stage and became the primary subject in works of art.
I slow down so I can make important decisions.
I ask myself questions such as, what can I do
to pull it all together, what risks should—or
shouldn’t—I take, and what are the final
touches for success?”

from charcoal to watercolor
1 2
Step 1: Maimon began with a pre-
liminary charcoal study to help her
get a better understanding of the
scene she wanted to paint.
Step 2: She created a pencil line

drawing of the composition
on the painting surface, focusing
on the big shapes—the cat and
the fishbowl.
Step 3: Next, she applied a light

wash of violet and then added
washes of analogous cool colors to
create a rich and dramatic setting
for the bright cat. Notice that she
reserved some white areas on the
fishbowl, water and the cat.
Step 4: She painted the goldfish

5
with warm tones, including orange
and vermilion. She also worked suggested its fur texture. Next, she by adding white gouache mixed
on the cat’s face and eyes. For scrubbed some paint off the fish- with blues on the right side. She
the inner part of the ear, Maimon bowl to indicate light. then added highlights using pure
repeated the colors that she had white for Eyeing the Goldfish No. 2
used to paint the goldfish. Final Step: Maimon made some (watercolor on paper, 17x25).
final touches to the cat. She also
Step 5: She continued to paint decided to give the fishbowl more
the cat using brushstrokes that volume and to strengthen its form
Growing a Style Organically “I think that over the years I’ve developed
Maimon believes that being an artist requires my own style that keeps evolving,” she contin-
hard work and perseverance. Her advice for ues. “It’s a natural process; it’s not static. Style
other artists? “You need to paint, and paint builds slowly over time and shifts in relation to
some more, on a daily basis, not just when you life experiences—failures and successes in the
feel like it. You also need to challenge yourself art world as well as in one’s personal life. My
to keep going and growing. approach has changed significantly over time.
3 4
Today I feel freer to experiment and to make

mistakes. I feel more confident in what I do,
which in turn affects my working process.”
Cats aren’t Yael Maimon’s only subject of
MICHAEL GORMLEY is a painter, writer and curator interest. See her figural paintings on page 88
living in New York City. He’s a frequent contributor and at artistsnetwork.com/medium/watercolor/
to Watercolor Artist. yael-maimon-watercolor-figures.
making a
scene
Successful actors typically get their start in the
theater. That’s where artist Nadine Charlsen got
hers, too, and where she began honing her skills
for designing the perfect setting onstage and,
ultimately, in watercolor.
BY S T E FA N I E L AU FE R S W E I LE R
O
ne glance at a hazy cityscape painted by Nadine Charlsen, and you
might instantly imagine the feel of mist on your face or find yourself
squinting to glimpse a busy metropolitan bridge through the dense
fog. This watercolorist’s mastery at capturing the atmosphere, character and
grit of urban surroundings is what makes her artwork so true to life, and
so palpable. Her past professional life in theater design undoubtedly has
influenced her art.
From Stage to Studio

Initially, watercolor wasn’t a creative endeavor for Charlsen, particularly
during the three decades she spent bringing shows such as Sweeney Todd: The
Demon Barber of Fleet Street to life onstage in and around New York City. “All the
set renderings I did as a designer for a director to see what was going to be put
onstage were done either in watercolor or gouache,” she says. “And so I painted
very tight, architectural renderings of set designs for years, and I hated it.
Charlsen’s challenge in Liberty Beyond Bridges (watercolor on paper, 53x45) was to develop
the focus on the Statue of Liberty, not on the Manhattan Bridge that bisects the painting.
Charlsen applied multiple layers of Payne’s gray in washes, particularly to the bottom half of
the painting. She then ran thick strokes of Payne’s gray across the bridge, letting the paint run
down the paper while it was positioned on her easel. She sprayed a fine mist of water along
the bottom of the surface to disperse the paint.
Charlsen’s hometown
in western Kansas is It was so limiting—like doing a coloring book. In the process, Charlsen learned that some
depicted in Bird City—
You draw the lines and then you color them in.” watercolors require more effort and reworking
Highway 36 (watercolor
on paper, 22x30). “This At her friends’ encouragement, Charlsen than others. “There are so many ways you can
painting has much began studying watercolor as a creative outlet make watercolor work,” she says. “I believe in
more character with
at the Art Students League of New York. There constructing and deconstructing a painting
the stormy sky than the
beautiful blue sky she met a teacher who would forever change through many alternating steps. Each time, a
in the original photo,” her approach to the medium. new focus appears, and over the course of 10 or
she says.
more phases, that focus becomes clearer.”
Watercolor Without Rules Erasing and making changes is key to
When Charlsen walked into Paul Ching-Bor’s Charlsen’s method. “If I had to leave every-
class, his first words caught her by surprise: thing that I put on paper right now, it would be
“I don’t have rules.” Eschewing traditional a muddy mess.” She protects lighter areas by
technique, he started dark and worked light; saving the white as she progresses, “but I use
he liberally scratched parts off and scrubbed paper I can scrub, so I can go back to white as
others out, “and I’d never seen that before,” needed.” Khadi handmade paper, which the
Charlsen says. That class challenged her own artist discovered while making paper props
tendencies, allowing her the freedom to experi- for a show, is a favorite that she now saves
ment and explore. “Within three weeks, it for complicated paintings. “It’s very soft, and
changed everything about my watercolor tech- some people don’t like that,” she says, “but
nique, and I loved everything I was doing.” for my technique, it blends edges really well.
The artist’s passion
for theater and
her appreciation
for the breathtak-
ing architecture
of the Paris Opera
House are evident
in At the Opera
(watercolor, water-
color pencil and
gouache on Khadi
handmade paper,
39x29). “This paint-
ing was a turning
point in my water-
color life,” Charlsen
says. “It was
through this break-
through piece that
I really discovered
what my smudgy,
scrubby style was
going to be.”
Scrubbing off is so easy, because it kind of walking and biking on city streets. This isn’t sur-
chips off layers of the paper.” It returns to prising, considering her theater interests have
perfect white every time, she maintains, even sided more with backdrops than the spotlight.
when using staining colors. In Charlsen’s world, the connections
between designing for the theater and
Scene-Stealing Secrets
Touristy views don’t interest Charlsen; instead, See some of Nadine Charlsen’s atmospheric
she prefers to reveal the overlooked details and paintings at artistsnetwork.com/medium/watercolor/
unique viewpoints she’s experienced while nadine-charlsen-watercolor-landscapes.
artist’s toolkit
• Surfaces: Arches rough paper, ranging from 140- to 300-lb.,
and Khadi handmade paper (100-percent cotton rag)
• Paints: “I use color from Daniel Smith, American Journey,
Winsor & Newton and occasionally Holbein,” says Charlsen.
“The colors I keep on my palette are most often Payne’s
gray, lunar black (cool palette), peach black (warm palette),
watercolor painting are constant. In both art
quinacridone gold, Potter’s pink, burnt umber, Vandyke
forms, building the right atmosphere can
brown, Prussian blue, new gamboge and raw umber. The
leave a lasting effect on the viewer and set the
only green I buy is Winsor green (blue shade); I make all my
stage for success. On the following pages are
other greens.” Charlsen also keeps on hand white gouache
several key techniques that Charlsen uses in
that she tints as desired.
her artwork to hold the viewers’ attention and
• Brushes: a variety of specialty brushes, including all kinds draw them in.
and sizes of scrubber brushes (including a large “take-it- Darks first, then color: Instead of building
all-off” scrubber); rubber-grip Royal travel brushes; large up color from light to dark, Charlsen lays in
scenic and hake brushes for large paintings the deepest shadows first (and sometimes the
• Misc.: watercolor pencil, usually black (“sometimes choco- grayer ones) to establish the composition and
late brown if I’m going to have warm shadows rather than its values. Color is introduced after that. “The
cool shadows”); textural/paint scrubbing tools, including color goes right over the darks, and I build it
100-grit sandpaper (“this works really well for creating the up in reverse, starting with darker colors that
effect of rain on rough paper”); pumice stone; X-ACTO knife would go into those shadows,” she says.
The initial darks must be completely dry for
this technique to work. With a fully dry dark
In The Christian Quarter of the Old City (watercolor and gouache on paper,
layer, “the color pretty much floats on top of 27x22), Charlsen disliked a hard edge present in the reference photo where the
the dark, and when it goes into the dark, background met the sky. “You don’t see the edge that clearly from that far away,”
she says. After scrubbing out the skyline, she turned the painting upside down
I immediately get so many more colors,” she
and glazed a thin layer of white gouache starting at the middle of the background.
says. The end result is richer shadows and The midrange buildings received three to four layers, and buildings above those
reflected shadow colors. got twice that to push them back. The foreground has only one or two layers for
a crisper focus.
Thin layers of glaze and gouache: Putting
glazes over the top of the dark and light areas Central Park Tangle (at left; watercolor on paper, 30x23) features one of the many
blends everything together to create atmo- 2010 snowstorms in New York City’s famous park. “I projected the forms and
meticulously painted the trees and covered walk with a fine brush,” Charlsen says.
sphere—“the air between you and the depth of
“I used a sharpened watercolor pencil to create the tiny branches. I also splashed
the painting,” says Charlsen. “I use a very, very on several layers of color to suggest depth behind the branches. Eventually, I
thin white gouache wash or a very dark glaze, scrubbed and scraped back the white snow on the branches and the ground.
Glazes of Prussian blue added to the ground and sky, giving the painting the feeling
and then I bring out the color by scrubbing
of depth, shadow and cool air.”
back.” She adds these layers while the painting
is upright on the easel, and lets the color run
and drip. “I take a fine spray of water and hit
the bottom section so that the paint spreads
out a little bit.”

“The juxtaposition of the round towers and the linear buildings creates interesting compositional shapes,” Charlsen says of Towers Over the City
(watercolor and gouache on paper, 30x23). The shadows on the rooftop water towers increase their visual appeal.
Charlsen used Photoshop to reposition the water tower and distant buildings in Kinnickinnic River (watercolor on
paper, 30x23). “I loved the perspective created by the lampposts and the reflection off the ice on the river,” says the
artist. She broke up the large shapes on the buildings by distressing them with a splashing technique.
To the white gouache, the artist usually She applies water and glazes to soften edges,
adds a little color designed to complement the scrubbing them out when necessary. “I don’t
painting. Background areas typically contain worry about the edges of something getting
more layers of thinned gouache than areas ‘dirty,’” she says. “Most of what I paint can be
closer to the viewer. In addition, Charlsen turns dirty anyway.”
the painting as needed to let the paint run in
the desired direction. A Change of Scenery
Softened edges: While almost everything in Now living in Asheville, N.C., Charlsen devotes
Charlsen’s set renderings featured a hard edge, her time to painting and teaching watercolor
soft edges are the goal for her watercolors. classes in the local River Arts District, guiding

working from dark to light
Step 1: Charlsen begins with her
own photo (1a), cropping or chang-
ing the composition if needed. In
Photoshop, she creates a lighter
version in color (1b), a grayscale
version (1c) and an enhanced black-
and-white version (1d). “This helps
me start the painting by laying in
the shapes and dark areas first,”
1a 1b
she says.
Step 2: To establish the drawing,

Charlsen sometimes traces and
then enhances the lines with black
watercolor pencil, or projects the
image and then draws using a
dark watercolor pencil. She then
begins laying in the darks with 1c 1d 2
Payne’s gray or Vandyke brown.
Once the bare bones of the image
are shaped with the shadows
and dark areas, Charlsen lays the
painting flat and applies water
where she wants the hard edges
to start “melting,” which helps to
begin blending the architecture
into the atmosphere.
Step 3: With the painting upright,

the artist adds color to establish
warm and cool areas. She glazes
color over much of the painting
and uses cerulean blue in minimal
amounts for areas of exposed sky.
Step 4: Keeping the painting verti-

cal, Charlsen applies several thin
4 5
layers of white gouache onto the
entire piece and then blots the Step 5: She constructs some of the Step 6: Texture and washes of color
areas where she doesn’t want as architecture in the buildings and are added to the buildings, street
much glaze. “There was some adds tonal grays, brown shadows and trolley. Charlsen glazes some
cerulean blue in the glaze to and details in the foreground. At of the people on the right side of
change the atmospheric tone this point, she decides which dark the street to de-emphasize them
surrounding the trolley,” she says. details she wants to re-emphasize. and blend them into the sunlight.
other adults to paint without fear. She’s also STEFANIE LAUFERSWEILER is a freelance writer and
shared her painting techniques with her for- editor living in Cincinnati, Ohio.
mer set and costume designers to help them
“loosen up and learn the importance of darks.”
For Charlsen, it seems that watercolor and the
theater will always be intertwined.
3
6
She uses a drybrush technique to its size and structure. Highlights front of the rest of the painting,
darken and texturize the buildings and shadows are also emphasized. because it’s all affected by air,
in the middle and on the left. Charlsen scrubs the white in the and light and dark,” Charlsen says
background back mostly to the of Traveling in Lisboa (watercolor,
Final Step: More work is done to white of the paper. “I didn’t want watercolor pencil and gouache on
stylize the trolley and emphasize the people or the trolley to be in paper, 30x23).
“I believe in constructing and deconstructing

a painting through many alternating steps.”
Discover 26
showstoppers from
select 2016 watercolor
The Year’s
societies’ national
juried exhibitions.
Best Paintings BY J ES S I CA C A N T E R B U RY
T
“I was drawn into this painting here’s a spot in my neighborhood, in the back of an
abandoned building, where the late afternoon sun
by the girl sitting on the
casts a beautiful shadow pattern across the win-
window ledge. What is dows. All I needed was someone to sit there and pose. The
light and shadows were there to see, so no pre-planning
she thinking? What is she
was necessary—nature at its best.
seeing? The underlying “In my original reference, there wasn’t any graffiti on
the windows. Since my beautiful young model is Korean-
design is magnificent, and
American, I thought it would work well to use a Korean
the complementary palette word—in this case, the word for love. I used the letters as
a design element to carry the eye across the painting. This
emphasizes the warmth of the
piece was also supposed to be horizontally oriented, but
light and the coolness after completion, I felt that it worked better as an almost-
square design.
of the shadows.”
“The incredible patterns of light and shadow across the
–CHRIS KRUPINSKI, JUROR girl’s figure are the kinds of things that most attract my eye
for inspiration. Creating an overall design while at the same
time a figurative work is what I strive for the most.”
Adirondacks National Exhibition of American Watercolors

KEN CALL | NORTHBROOK, IL
Sitting Pretty (watercolor on watercolor board, 27x26)
Georgia Watercolor Society
DONGFENG LI | BALLWIN, MO
The Morning Filled With Breath of Spring (watercolor on YUPO, 23x32)
“I worked on this piece for two years furniture. Against these colors, the
after a trip to St. Charles, Mo. My very bright yellow becomes the focal
wife and I took a morning walk and point. The overcast gray-green-yellow
“Visual art at its best enriches both really enjoyed the breezy, bright unifies the painting.
but overcast day. The quiet around “I included the water drops for
artist and viewer, and that intention
us, the air full of the smells of the texture and added some flying white
is at the center of all painting.” earth and the soft, warm sunlight specks to make the air appear to
certainly left an impression; the move. I allowed the upper branches
–DON ANDREWS, JUROR
morning sunshine unified all of the in the background trees to fade into
surrounding colors. the mist.
“I used the light yellow-gray and “This was my fi rst attempt at a
warm gray to set up a focal point. I landscape on YUPO. It was a good
created the illusion that the air was experience, although a hard process
full of light yellow-gray pollen, which for me. I want to experiment more
contrasts with the dark gray color on YUPO, especially with different
of the tree trunks and the shining subject matter.”
American Watercolor Society Watercolor Society of Alabama
SUSAN WEINTRAUB | BROOKLYN, NY BILL BAILEY | OAKLAND, TN
End of the Day (watercolor and gouache on paper, 26x40) Eating Out (watercolor on paper, 29x38)

California Watercolor Association Louisiana Watercolor Society
GEORGANNE ZARO EDDY | LAFAYETTE, CA CHIN CHIAN LEE | JOHOR BAHRU, MALAYSIA
Island of Brac (watercolor on paper, 21x29) I Believe I Can Fly (watercolor on paper, 14x22)
Pennsylvania Watercolor Society
WILLIAM VRSCAK | PITTSBURGH, PA
End of Summer (watercolor on paper, 26x34)
Society of Watercolor Artists

LEON LOUGHRIDGE | DENVER, CO
Aglow (watercolor on paper, 13x11)
Find deadlines for 2017 juried society

exhibitions at bit.ly/2017-wc-exhib-deadlines
and bookmark our directory of watercolor
societies at bit.ly/wc-society-directory.

Springfield Art Museum’s “Watercolor U.S.A.”
BLAKE WILLIS TIGGEMANN | SPRINGFIELD, MO
Lost In the Fire (aqueous emulsion on paper bags, 34x34)
“My choice of materials was based “As for the substrate, I tried to asked me to write a list of every-
wholly out of circumstance. I expe- work on a nice big white sheet of thing I had lost in the fi re, so as to
rienced a house fi re the month fi ne-laid watercolor paper, but after help in any way they could. I tried
before I was to paint my entry to the experience of losing everything, writing a list, but found it couldn’t
‘Watercolor U.S.A.’ in which I lost all something just wasn’t clicking. I accurately represent what each of my
of my art supplies (mostly high-end then came across the idea of paint- few possessions had meant to me.
oils, watercolors and drawing media). ing on grocery sacks and felt that it I didn’t have much, but each thing
I was challenged and pressed to fi nd was much truer to the state I was in I had carried a story and a reason
something inexpensive to work with. at the time. I found that when I don’t that I held on to it. By painting these
This led me to try hobby-store craft have the pressures of having to paint things, I could remember exactly why
acrylics, along with a PVA-based something that justifies the costly they were important. More signifi-
ground used for silverpoint drawing materials, the image comes alive on cantly, painting the items allowed
that I found while digging through its own. for a cathartic cleansing, a closing
old art supplies at my parents’ house. “The narrative of the painting statement that would help signify the
I used these materials to create my was completely derived from my outgoing of the old and the start of
aqueous emulsion. situation. My friends and family had something new.”
Missouri Watercolor Society
DONGFENG LI | BALLWIN, MO
Girls On a Date (watercolor on YUPO, 30x22)
Watercolor Art Society–Houston

KAREN LINDEMAN | HOUSTON, TX
Irish Spring (watercolor on paper, 30x22)
“Lost In the Fire was very real in its ‘downscale’ presentation, but
personal and charming, as was the imagery of all the everyday
items: clothing, art supplies, etc. I was intending to give it an
award when I finally focused on the title, which made what
seemed like a whimsical piece suddenly resound with incredible
power and poignancy.”
–LYNNE WARREN, JUROR

South Carolina Watermedia Society
LYNDA ENGLISH | FLORENCE, SC
The Hands of a Fisherman (watercolor on paper, 32x30)
Mid-Southern Watercolorists Society

JUDY WRIGHT WALTER | TEXARKANA, TX
Lake Lilies (mixed watermedia collage on paper, 22x30)
Southern Watercolor Society

DEAN MITCHELL | TAMPA, FL
Power Ball (watercolor on paper, 20x30)
“This painting caught my eye
every time I passed by. It has
a solid cruciform composition,
followed by balanced active
areas and quiet space. The
contrast between opaque
and transparent spaces
increases the viewer’s interest.
There’s a good blending of
representational imagery
combined with an abstract
underpinning.”
–MARK MEHAFFEY, JUROR
San Diego Watercolor Society

GARI STEPHENSON | ROANOKE, VA
The Guardian (acrylic on YUPO, 25x19)
“I paint rather backward compared to does show up in a lot of my paintings,

most artists. For instance, I create very but I don’t always plan it that way
few drawings or value studies before from the beginning.
applying transparent acrylics—very “I pull images out of the paint by
washy and randomly—to a piece of glazing with additional transparent
YUPO synthetic paper. While the colors, adding opaques to block out
surface is still wet, I ‘twin’ the paint by what I don’t want and using alcohol
laying another piece of YUPO on top to remove areas of paint to create my
of it and moving it around to create light and white spots. I add and take
texture. When that’s dry, I look for away a lot in each painting. Images
images in the paint, turning the paper seem to emerge from the paint and
in all directions. tell me how to continue.
“My subject choices are usually “The raven in this piece is in
figures, non-objective images or memory of my friend and fellow artist,
Maine landscapes. The cruciform Sandi D’Alessandro.”

Ohio Watercolor Society
“Despite the fact that I enjoy paint- subtle imprints from different types
FREDERICK C. GRAFF | MEDINA, OH
ing on a variety of different surfaces, of textured surfaces while the paint-
Codding Hill (watercolor on YUPO, 22½x32)
YUPO is, without question, my pre- ing was semi-wet.
ferred painting surface. It has proven “Instead of using photo references,
to be very versatile and responds I prefer to work from preliminary
“This painting caught my eye
favorably to my painting style. studies, as it allows me to resolve
from the beginning. “The approach and techniques I compositional problems instead of
utilized for this painting exemplify simply recording facts. My prelimi-
I admired Fred’s handling
how I generally work in watercolor. nary study serves only as a rehearsal;
of the architectural structure Working on an angle in a wet-into-wet my ultimate goal is to allow the fi nal
method, I initiated the entire paint- painting to take on its own identity.
and his placement of it on
ing with one color while intentionally “Each painting should be a unique
that hill—and the color is just maintaining as many natural whites and different experience and should
of the paper as possible. Keeping the evolve instinctively. This unpre-
marvelous. The space, the
painting wet with a fi ne mist appli- dictable painting process is what
color, the elements were all cator, I introduced additional colors stimulates and motivates me to
and allowed them to intermix in a pursue the medium of watercolor.
there. It was a ‘wow’ painting.”
spontaneous and abstract manner. I relish the challenge of expressing
–CARRIE BURNS BROWN, JUROR Most of the texturized effects evolved myself in an honest, unrestrictive
naturally, but some were created with and creative fashion.”
Southwestern Watercolor Society

JOHN BAYALIS | ST. PETERSBURG, FL
Railroad Crossing (watercolor on paper, 22x30)
Rocky Mountain National Watermedia Northern Plains Watercolor Society
KAREN POULSON | BROOMFIELD, CO SHARON GREY | RAPID CITY, SD
Expressions in Black & White (acrylic on paper, 44x30) Back Stage (watercolor on paper, 34x26)

“In his book, Creative
Authenticity [Atelier Saint-Luc
Press, 2004], Ian Roberts
suggests, ‘Art and beauty are
about inner resonances. It
isn’t the subject matter that
holds us. Some inexplicable
relation stops us, and we find
ourselves connected with
something other than ourself.’
This was my experience with
Steve’s powerful abstract
painting. Above all, it made me
want to get back to my studio
and paint.”
–TED NUTTALL , JUROR
Florida Watercolor Society

STEVE ROGERS | ORMOND BEACH, FL
Lot-Dordogne Series: Domain du Haut Baran (acrylic and water-soluble pencils on paper, 40x30)
“My current body of work is a departure places on earth, the Domain du Haut
from the transparent, alla prima, rep- Baran in the southwest Lot and
resentational watercolors for which I’m Dordogne region of France, where she
known. These paintings are done with and I teach plein air painting work-
Golden fluid acrylics and Caran d’Ache shops. It’s the perfect inspiration
water-soluble pencils—media better because I’m not trying to represent
suited to the developing nature of an anything visible but rather my emo-
abstract painting—on Arches hot-pressed tional response to the character of this
300-lb. paper. Decades ago, I painted ancient place. It’s freeing to be able
abstract watercolors on illustration to explore color, texture and shape to
board, but I didn’t have the skill set for reveal what I want to say on a deeper
them at the time. Although I can’t fi nd plane in my work.
any examples of them in my garage, I’m “The Florida Watercolor Society exhi-
sure they were slick and gimmicky bition is the first time I’ve shown any of
—something I fi nd unattractive in any my new abstract paintings, so it really
type of painting. blew me away when Ted Nuttall, an art-
“The title of this piece refers to ist and judge I admire in every possible
one of my wife Janet’s and my favorite way, awarded me Best of Show.”
Baltimore Watercolor Society
LOIS WOLFORD | TOWSON, MD
No Loitering (watercolor on paper, 18x30)
make them pick you
How to catch the eye of a juror:
“For a juried competition done by digital entry, have

the work professionally photographed. It really
makes a difference. Also, be careful how you mat and
frame the work. I often reject images because the
framing and matting are just so insensitively done.”
–Lynne Warren, “Watercolor U.S.A.” juror
“Artists need a nice, well-designed painting with

a lot of color and value contrast. Also, the design
of edges is important—whether the painting is
abstract or representational; nice, strong edges
stand out.”
–Carrie Burns Brown, Ohio Watercolor Society juror
“I first look for some kind of emotional content

that grabs me. Once I’m grabbed, I start looking
at design—how the artist used the elements and
principles of design to reinforce the content. Then
I consider technical excellence, but the first two
criteria are much more important.”
–Mark Mehaffey, San Diego Watercolor Society juror
“First of all, never try to anticipate what the juror

might be drawn to and never do your painting to
meet that assumption. Secondly, paint what you
love—what you’re impassioned by. Your emotional
National Watercolor Society connection to what you’re painting is the magic.
LYNN MCLAIN | FADITO, NM Lastly, do your best work. Craft it lovingly and give
Road Chatter 52 (watercolor on paper, 30x22) every element of the painting your full attention.”
–Ted Nuttall, Florida Watercolor Society juror

West Virginia Watercolor Society Watercolor West
SANDRA THOMPSON PEALER | SOUTH PARIS, ME CHRIS KRUPINSKI | HURRICANE, WV
Landline (watercolor on paper, 21½x14 5⁄8) Happy (watercolor on paper, 30x22)
Transparent Watercolor Society of America
DEAN MITCHELL | TAMPA, FL
Buff alo Soldier (watercolor on paper, 30x20)
Texas Watercolor Society

LAURIE GOLDSTEIN-WARREN | BUCKHANNON, WV
Pedicab–NYC (watercolor on paper, 28x36)
JESSICA CANTERBURY has been writing about the arts since 2002.

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Watercolor essentials BY K AT H L E E N S . G I L E S
Into the Light

Use value effectively to achieve strong lighting and dramatic color.
I masked the sunstruck areas on the figure

and then applied color through pouring
and brushwork in Even the Angels Cried
(watercolor on paper, 22x30), which offers
I ’ve been painting with and teach-
ing watercolor for years, and it’s
obvious that artists want their work
fundamental ingredient for creating
work that jumps off the paper and
grabs the viewer’s attention.
an example of toplighting.
to be eye-catching regardless of sub- Follow along as I share three
ject matter. For me, a strong pattern examples of how I use value to
of lights and darks, or value, is a achieve light-filled works.

watercolor essentials
Mallory’s Hands (watercolor on paper, 19x29) is an example of strong lighting and dramatic color. I used the shadow to show the contour of the
arms, hands and fingers. The smaller shadows on the dress helped me show the folds in the fabric; the resulting texture made the cloth look
“real.” The colorful dress and tattoos are balanced by a soft mid-tone gray surrounding the fi gure. I placed the whites, darkest darks and hardest
lines around the hands, which serve as the focal point.
Strong Directional Light I use umbrella lights with 120-volt When there’s an absence of
When a subject is in strong direc- warm lightbulbs. A pendant light distinct directional light, color
tional light—whether backlit, sidelit in my kitchen is an additional go-to changes can be used in place of value.
or toplit—the values that help to lighting option for still life subjects. For example, if the background is
define shape are present in both I set a small table on my countertop similar in value to the object in the
shadow and highlight form. For a to bring the object up close and snap middle ground, I make the back-
backlit scene, the object is in shadow away. The goal is to have enough ground a different, or complementary,
and surrounded by a highlight. Light directional lighting so that a flash color. That will visually separate the
hitting the side of an object creates isn’t required, because it will blow objects and add depth. Tip: Be aware
shadows that show that object’s con- out the shadows I want to be able to of color intensity, not just light and
tours. Light that shines from directly see and paint. dark. Using more paint and less
above an object creates highlights on When photographing outside, water adds vibrancy without neces-
its top contours and medium or dark I rely on early- and late-day sun, sarily darkening the value.
values on its vertical surfaces. because the sun’s angle throws To create the look of light, I use
The subject matter determines longer, more colorful shadows. I’ve transparent staining watercolors
where the lighting should be placed. found that noonday sun is generally from a variety of brands, and I don’t
To create directional light indoors, too stark and tends to flatten objects. use any tube gray or black in my
In Man With the Yellow Cup (watercolor
on paper, 23x21), the only untouched white
paper is at the edge of the figure’s right-
hand fingers, right side of the head and right
thigh. The darkest darks and richest warm
color are in the foreground on the figure. I
used gesso and grayed blues on the water. I
wanted the muddier colors behind the man
to be duller than he is, so I used a little of
the orange from his skin in the background
in a dulled-down shade.
palette. I make all my neutral colors, I’m trying to get accurate values for darker. I used a mixture of indan-
grays and blacks by mixing comple- a subject. threne blue and perylene maroon for
ments. For example, yellow and pink the darkest areas of the skin. Adding
are mixed for orange. To deepen or Backlighting blue to the reddish perylene dulled
dull the orange, I add a touch of blue. In Man With the Yellow Cup (above), and darkened the color.
The ratio of the colors to each other the light is coming from behind the I dried and rewet the paper to
within the mixture determines if subject. It was a challenge to make apply successive layers of color. The
the color leans toward orange or his body appear as a seamless shape only way to apply paint without
blue; this is called a triad. All grays with many color and value changes. leaving interior lines is to work on
are made of triads. Wet-into-wet and wet-on-dry paint- wet paper. I used strong transparent
I use different paints to do ing allowed me to control my hard yellow on or near the highlights. In
different jobs. For example, French and soft edges. this painting, it caused the cup to
ultramarine doesn’t have the same To create the illusion of light, the appear to ‘glow.’
intensity as indanthrene blue or color is a brighter orange toward the
phthalo blue, but it does granulate. light side of the face. As the shadow Sidelighting
Knowing which colors mix to make on the skin moves away from the I always carry a camera with me,
the richest darks is helpful when light source, it becomes cooler and and when the sun is out, I find

1 2
sidelighting the figure

I began with a reference photo (above) that featured
a woman sidelit from the left. I determined that the
windows in the background added interest, but were
too light. Meanwhile, the dark values on the apron and
those surrounding the figure were too dark and flat.
Step 1: I made a pencil drawing, straightening the

windows and simplifying the background, and then
applied masking.
Step 2: I applied a yellow wash over the areas I wanted

to consist of darker values.
Step 3: I laid blue and pink washes into the yellow

underpainting while it was still wet. Notice how the value
pattern is beginning to take shape.
Step 4 (detail): I left the left side of the face light as

I started to paint the skin tone. I placed several of the
darkest darks in the hair and neck as a value guide.
Step 5: I added the darks to the background, taking

care to make them lighter than the shadowed parts of
the hair. I then removed the masking in the background.
The windows behind the head look like a highlight when
surrounded by darks.
Step 6 (detail): I flooded more color over the hard mask

lines and the window to deepen the color and reduce
any background highlights. 6
3 4 5
7
Step 7: I continued to develop the mid-value colors on Final Step: I placed the most value contrast in and
the apron, hair and clothing. The pinks, bright yellows around the center of interest. The necklace and sur-
and reds appear only on the figure. I painted the blouse rounding colors lead the eye from the face to the hand
and apron lighter and more vibrantly than they looked to the dessert in Serving Lemon Pie (watercolor on
in the reference photo. paper, 30x22).

myself looking for my next big inspi-

ration. For a series, such as my crab
apple paintings, I’ll take about 100
photos and then review them on my
computer screen.
As soon as I saw the reference
photo for Crab Apple World (at left),
I knew it had the makings of a special
painting because only the side-sunlit
apple was in focus. The whites appear
on the left side of the crab apple or
very close to it. The brightest red is
in the same area, with lots of yellow
used as an underpainting.
All of the other colors in the
painting are dulled down by their
color complement, while the shapes
are blurred with soft edges. Any
Crab Apple World (watercolor on paper, 22x30) is an example of a bright light coming from the highlights from the photo that were
side of the object. I used some white gesso mixed with my greens on the two large leaves to in the outer corners were grayed
dull the color and to add body to the wet washes. down or eliminated.
Toplighting
One of the easiest ways to depict
drama is by shining an overhead
light directly onto a subject and
using a black background behind it.
If the background is black, the
objects in the foreground need to be
comprised of whites and mid-tone
values. If the objects in the fore-
ground are too dark, they’ll blend
with the background and look flat.
Complementary colors can be
used for both color harmony and
drama. A dark background should be
made from the colors that were used
in the painting. One of my darkest
darks is made by mixing permanent
rose with phthalo green.
Experiment with these three
types of directional lighting to
determine what works best for the
Pink Tulips (watercolor on paper, 22x30) is an example of toplighting. I painted the tulips
using middle-value colors, and I preserved the white of the paper. The dark background is a statement you want to achieve with
darker mixture of the pinks and blues from the foreground. your painting.
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D E A D L I N E : F E B R UA RY 12 , 2 017 5/16-5/19/17, Sedona.
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9 - November 26, 2017. All works must interpret birds Contact: 760/340-5085, www.venusstudiosllc.com
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Top Instructors / All media
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Birgit O’Connor
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Juror of Awards - Marjorie Glick. Over $14,000 in
Contact: Susan Davis, 916/359-7691
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email [email protected] 2/6-2/10/17, Calistoga, Napa Valley. Within the Flower.
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5/15-5/18/17, CWA California Watercolor Society.
ALABAMA Contact: Sally Noble
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2/3-2/4/17, Huntsville. Jean Hess, Challenging Jan Sitts
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3/16-3/19/17, Huntsville. Kathy Durdin, Loosening Up &
Seeing Color Everywhere: Watercolor Portraits.
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Contact: 760/340-5085 Philadelphia Water Color Society
3/23-3/25/17, Huntsville. Qiang Huang, Still Life Oil Iain Stewart 117th Anniversary
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Expressive Mark Making, A Painter’s Approach to Contact: 630/851-2652 Show and Workshop: Community Arts Center, Wallingford, PA 19086
Drawing. [email protected] or www.TomLynch.com In addition to watercolor The Philadelphia Water Color Society also accepts the following
Contact: Laura E. Smith, Director of Education/ Iain Stewart mediums on paper: pastel, charcoal, graphite, colored pencil & hand-pulled prints.
Museum Academy, 256/535-4350 x222 To join or learn more about PWCS please visit our website:
3/1-3/3/17, Grand Junction.
[email protected] or http://hsvmuseum.org/ Western Colorado Watercolor Society. www.pwcsociety.org
museumacademy/master-artist-workshop Contact: 970/254-3876, [email protected]

Vladislav Yeliseyev, NWS 1/30-2/1/17, Lian Quan Zhen, Watercolor and Chinese Workshop. Citrus Watercolor Club.
4/18-4/20/17, Denver. Colorado Watercolor Society. Painting. Demo on Dec 8, 2017.
Contact: 303/981-6004, [email protected] 2/6-2/8/17, Bill Farnsworth, Plein Air to Studio. Oil. Contact: Helene Lancaster 352/257-1261
2/11-2/13/17, Charlie Hunter, Composition in Plein Air [email protected]
D E L AWA R E Water based Oil. 2/19-2/20/18, Bradenton. The Split Primary Color
Tom Lynch 3/15-3/17/17, Mark Boedges, Painting Landscape Wheel in Watercolor. 2-Day Watercolor Workshop.
10/5-10/8/17, Rehoboth Beach. Plein Air. Keeton’s. Demo on Feb. 17, 2018.
Contact: 630/851-2652 3/24-3/26/17, Vladislav Yeliseyev, Plein Air Watercolor Contact: Keeton’s Office & Art Supply, 941/747-2995
[email protected] or www.TomLynch.com workshop. Website: www.keetonsonline.com
For more classes and workshops visit For questions regard workshop contents, contact
F LO R I DA www.yeliseyevstudio.com Jaimie at: 786/303-5293 or email:
Anne Abgott, AWS, NWS Contact Marina: 941/330-6865, [email protected] [email protected]
1/10/17, Bradenton. 1 day workshop Keetons. Robert Burridge
Contact: Frank Perry, 941/795-5181 Kathie George
2/13-2/17/17, Sarasota. Abstract Acrylic Painting & 3/1-3/3/17, The Villages. 3 days of Watercolor Batik
[email protected] Collage. 5-day Painting Workshop (Monday-Friday).
1/17/17, Bradenton. 1 day workshop Keetons. on Rice Paper with step-by-step instruction. Beautiful
Art Center Sarasota, 707 N. Tamiami Trail, Sarasota, FL projects: garden stairway, red boat in the harbor and
Contact Frank Perry, 941/795-5181 34236. Demo: Sunday, February 12, 1-3 pm.
[email protected] several small scenes from our Spain workshop.
2/18-2/19/17, Sarasota. Abstract Acrylic Painting &
1/31/17, Sarasota. 1 day workshop Sun and Fun. Contact: Bev Hennessey, 352/753-1383
Collage. 2-day Painting Workshop (Saturday-Sunday).
1/26-1/28/17, Marathon. Three day workshop. Full. Art Center Sarasota, 707 N. Tamiami Trail, Sarasota, [email protected] or
Contact: Brenda, 609/231-7045 FL 34236. www.thevillagesartworkshops.com
[email protected] Contact: Elizabeth Goodwill, Education Director, 3/6-3/8/17, Ocala. Top Of The World. “How to design
February 2017, Anna Maria Island. One Woman Show 941/365-2032, [email protected] or your own watercolor batiks on rice paper”. Limited
at The Gallery On Pine Avenue. www.artsarasota.org number of participants for this special workshop!
2/7/17, Bradenton. 1 day workshop Keetons. Contact: Sue Primeau, Home: 352/867-7637
Jaimie Cordero
Contact: Frank Perry, 941/795-5181 Cell: 612/889-7995 or www:teamingpondinc.com
1/6-1/8/17, Pinecrest. Color Layering in Watercolor.
[email protected] Tom Lynch
3-Day Watercolor Workshop.
2/9/17, Sarasota. 1 day workshop Art Center Sarasota. 2/6-2/9/17, The Villages.
Pinecrest Community Center.
Contact: 941/365-2032, [email protected] Contact: Pinecrest Community Center, 305/284-0900 2/16-2/18/17, Lake Park.
2/21/17, Bradenton. 1 day workshop Keetons. Online Registration: https://webtrac.pinecrest-fl .gov/ 2/28-3/3/17, Santa Rosa Beach.
Contact: Frank Perry, 941/795-5181 wbwsc/webtrac.wsc/wbsplash.html?wbsi=si&wbp=1 11/14-11/17/17, Quincy.
[email protected] 2/6-2/9/17, Maitland. Layering Color for Translucent 12/15-12/18/17, Palm Beach.
3/6-3/8/17, Bradenton. 1 day workshops or 3 day Light & Shadow. 4-Day Watercolor Workshop. Contact: 630/851-2652
workshop can be taken at discount Keetons. Central Florida Watercolor Society. [email protected] or www.TomLynch.com
Contact: Frank Perry, [email protected] Contact: Richard Lewis, 386/960-7333
3/21/17, Bradenton. 1 day workshop at Keetons. Jan Sitts
[email protected] 2/8-2/10/17, Marco Island. Texture/Color/Feeling.
Contact: Frank Perry, [email protected] 3/3-3/5/17, Pinecrest. Translucent Light & Shadow in
3/23/17, Sarasota. 1 day workshop at Marco Island Center for the Arts.
Watercolor. 3-Day Watercolor Workshop. Contact: Debbie Kuindersma, 239/394-4221
Art Center Sarasota. Pinecrest Community Center.
Contact: 941/365-2032, [email protected] 2/13-2/16/17, Ft. Meyers Beach. Texture/Color/Feeling.
Contact: Pinecrest Community Center, 305/284-0900 Jury show 2/12th.
4/4/17, Bradenton. 1 day workshop at Keetons. Online Registration: https://webtrac.pinecrest-fl .gov/
Contact: Frank Perry, [email protected] Contact: Kay Cowan, [email protected]
wbwsc/webtrac.wsc/wbsplash.html?wbsi=si&wbp=1
4/6/17, Sarasota. 1 day workshop Art Center Sarasota. 11/13-11/14/17, Bradenton. The Split Primary Color Tony van Hasselt, A.W.S.
Contact: 941/365-2032, [email protected] Wheel in Watercolor. 2-Day Watercolor Workshop. 3/20-3/24/17, Victorian Fernandina. Plein air painting
4/11/17, Bradenton. 1 day workshop at Keetons. Keeton’s. Demo on Nov. 11, 2017. fun on sunny Amelia Island. Stately homes with moss-
Contact: Frank Perry, [email protected] Contact: Keeton’s Office & Art Supply, 941/747-2995 draped oaks plus a harbor, boats and rickety docks.
Art School Renaissance, Sarasota Website: www.keetonsonline.com Demonstrations, lots of individual painting time and
November 2016 - May 2017, Various classes in 12/9-12/10/17, Inverness. Layering Color for assistance. Work in watercolor or acrylics.
drawing and painting. Translucent Light & Shadow. 2-Day Watercolor Contact: www.vanhasseltworkshops.com
the Transparent Watercolor Society of America

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February 6 – 9 The Villages, FL 6DQ)UDQFLVFR0DUZF
February 16 – 18 Lake Park, FL
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Jurors and June workshop presenters: March 14 – 17 Albany, GA .DUO\Q+ROPDQ
Jean Pederson, CSPWC April 25 – 28 Metairie (New Orleans), LA &UXLVH$SU0D\ZF
May 2 – 5 Pawtucket, RI
Bruce Hanford, TWSA MS
June 5 – 9 Cheyenne, WY
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July 10 – 14 Lac du Flambeau, WI 5LFKDUG0F.LQOH\
August 10 – 13 Richmond, VA (Plein Air WS) %HQG25-XO$XJSDVWHO
September 11 – 14 Beaver Creek, CO +HUPDQ3HNHO
September 25 – 28 Springfield, OR
October 5 – 8 Rehoboth Beach, DE %HQG25$XJRLO
November 10 – 12 Raleigh, NC %HQG25$XJZF
November 14 – 17 Quincy, FL )DELR&HPEUDQHOOL
December 15 – 18 Palm Beach, FL
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for more info go to www.watercolors.org Art Instruction 24/7

Vladislav Yeliseyev, NWS INDIANA demonstration that addresses the specifics of the
1/3/17, Bradenton. Workshop at Keeton’s. Anne Abgott, AWS, NWS landscape at hand with regards to color, composition,
Contact: www.keetonsonline.com 5/13-5/18/18, Watercolor Society of Indiana. and paint handling. The afternoons will be spent
1/21-1/24/17, Miami. Watercolor Society Watercolor Contact: Valerie Vogtner, 317/814-6194 painting on your own with plenty of individual
Workshop. Studio. www.miamiwatercolor.org www.watercolorsocietyofindiana.org guidance from Marjorie. Orrs Island is 30 minutes by
2/20-2/22/17, Key Largo. Watercolor Workshop. car from Portland, Maine airport.
3/2-3/4/17, Cape Coral. Art League Watercolor I O WA 8/27-8/31/17, Stonington. Watercolor Plein Air. This
Workshop. Anne Abgott, AWS, NWS magical coastal landscape is an inspiring place to
Contact: 239/772-5657, www.capecoralartleague.org 9/13-9/20/17, Perry. Two 3 day workshops. paint and sets the stage for you to have a wonderful
11/13-11/15/17, Ft. Myers. Beach Art Association. Iowa Watercolor Society. artistic experience with an accomplished artist who
Contact: 952/210-6888, www.fortmyersbeachart.com Contact: Gwen Foster, 515/382-1686 loves to teach. This workshop is geared towards all
November 2016 - May 2017, Sarasota. Watercolor [email protected] levels and will focus on how color and paint handling
classes and workshops. www.yeliseyevstudio.com can be used to create your own interpretation of the
LO U I S I A N A specifics of the landscape. Daily demonstrations,
Contact: 941/330-6865, [email protected]
Art In the Mountains ample time for painting, individual guidance and
GEORGIA 3/6-3/8/17, New Orleans. Mary Whyte, The Best of critiques are included. Stonington, Maine is 90
Tom Lynch Watercolor, studio. Paint still life and clothed models. minutes by car from Bangor, Maine airport.
3/14-3/17/17, Albany. Contact: Tracy Culbertson, 503/930-4572 Contact: www.marjorieglick.com
Contact: 630/851-2652 [email protected] or Tony van Hasselt, A.W.S.
[email protected] or www.TomLynch.com www.artinthemountains.com 7/31-8/4/17, Belfast. Five days of plein air fun,
Tom Lynch exploring this teaming coastal harbor and enjoying
H AWA I I 4/25-4/28/17, Metairie. (New Orleans). the charm of Victorian Bayside. Subjects galore.
Kathleen Alexander Contact: 630/851-2652 Demonstrations, lots of individual painting time with
Specializing in Florals & Still-Life. Luminous Layering [email protected] or www.TomLynch.com personal assistance. Work in watercolor or acrylics.
for Depth and Realism. MAINE 9/18-9/22/17, Boothbay Harbor. Let Tony show you
1/7-1/8/17, Maui. favorite spots in his own “backyard”. Coastal scenes,
1/21-1/22/17, Lanai. Acadia Workshop Center rickety docks, a farmers market, lighthouse and more.
2/4-2/5/17, Maui. See full schedule on the website. Demonstrations, lots of individual painting time with
3/3-3/5/17, Maui. Contact: [email protected] or personal assistance. Work in watercolor or acrylics.
www.acadiaworkshopcenter.com Contact: www.vanhasseltworkshops.com
Contact: KathleenAlexanderArt.com
Marjorie Glick
Eric Wiegardt, AWS-DF, NWS M A S S AC H U S E T T S
6/11-6/16/17, Stonington. Watercolor Plein Air: Color
1/21-1/28/17, Kauai. Anne Abgott, AWS, NWS
and Light. This magical coastal landscape is an
Kauai Watercolor Plein Air Workshop. artists’ paradise! Stretch your perception of how 6/27-6/29/17, Falmouth. Three day workshop.
Contact: Wiegardt Studio Gallery, 360/665-5976 you see, think about, and paint the landscape by Contact: Suzy Bergman, 508/540-3304
[email protected] learning new ways of interpreting it with color and [email protected]
ILLINOIS composition. Express your ideas using watercolor’s
elusive qualities of spontaneity and transparency. MICHIGAN
Transparent Watercolor Society of America Expand what you know through individual mentoring. Chris Unwin
6/5-6/9/17, Chicagoland/Kenosha. Daily demonstrations, ample time for painting, Watercolor Workshop Weekly on Wednesdays.
Jean Pederson, “Luscious Wet Portraiture”. individual guidance and critiques are included. West Bloomfield, MI 48322
6/5-6/9/17, Chicagoland/Kenosha. Bruce Handford, Stonington, Maine is 90 minutes by car from Bangor, Contact: Chris Unwin, 248/624-4902
“Light and Shadow in Rural/Cityscape”. Maine airport. [email protected] or www.ChrisUnwin.net
6/12-6/16/17, Chicagoland/Kenosha. 7/9-7/13/17, Orrs Island. Watercolor Plein air all levels.
Jean Pederson, “Wet Glazing Stills and Florals”. Orrs Island is a wonderful place to paint because of N E VA DA
6/12-6/16/17, Chicagoland/Kenosha. its varied scenery of quiet coves, rugged coastline, Birgit O’Connor
Bruce Handford, “Bold and Fresh Water/Landscape”. and quintessential New England buildings. Our 8/15-8/18/17, Reno. Fearless Florals.
Contact: Vickie, 262/484-1261 lodgings have spectacular views from the large porch August 19 Demonstration 1-3 pm.
[email protected] or www.watercolors.org of sunset and water. Each morning begins with a Contact: Tricia Leonard, [email protected]
Workshop Videos on DVDs HUDSON RIVER VALLEY

ART WORKSHOPS
Learning, Laughter,
and Friendships in a
Relaxing, Inspiring, and
Inviting Environment
Call Toll-Free 1-888-665-0044

Lisa Pressman Mar 19-25, 2017
Susan Ogilvie Mar 26-Apr 1, 2017
Jane Davies May 7-13, 2017
Barbara Nechis May 17-21, 2017
Red Coat, Patti Mollica May 21-27, 2017
Blue Mood Robert Burridge Jun 4-10, 2017
Liz Kenyon Jun 18-24, 2017
Bev Jozwiak, AWS, NWS Paul Leveille Jun 25-Jul 1, 2017
Paul George Jul 5-9, 2017
Tony van Hasselt Jul 9-15, 2017
Gerald Brommer Jul 16-22, 2017
David Daniels Jul 23-29, 2017
Alvaro Castagnet Aug 2-6, 2017
Kim English Aug 6-12, 2017
Self-Directed Retreat Sep 3-9, 2017
Ann Lindsay Sep 10-16, 2017
David Taylor Sep 17-23, 2017
Leah Lopez Sep 24-30, 2017
Skip Lawrence Oct 1-7, 2017
John MacDonald Oct 8-14, 2017
Alexis Lavine, NWS Fran Skiles Oct 15-21, 2017
Workshop DVDs & Order info at:
WWW.ChrisUnwin.Net artworkshops.com

NEW MEXICO Contact: Tracy Culbertson, 503/930-4572
Birgit O’Connor [email protected] or
7/17-7/21/17, Cloudcroft. Cloudcroft Art Workshops. www.artinthemountains.com
Desert Roses and Rocks. Emerald Art Center
Contact: Linda Shiplett, 915/490-5071 2/3-2/4/17, Springfield. Beverly Soasey.
[email protected] or [email protected] 3/10-3/11/17, Springfield. Linda Aman.
3/16-3/18/17, Springfield. Kurtz.
N E W YO R K 3/21-3/23/17, Springfield. Eileen Sorg.
Hudson River Valley Art Workshops Contact: 541/726-8595, www.emeraldartcenter.org
3/19-3/25/17, Lisa Pressman. John Hewitt, TWSA, WHS
3/26-4/1/17, Susan Ogilvie. 5/19-5/21/17, Coos Bay. Coos Art Museum. $350.
5/7-5/13/17, Jane Davies. Contact: [email protected] or johnhewittart.com
5/17-5/21/17, Barbara Nechis.
5/21-5/27/17, Patti Mollica. Tom Lynch
6/4-6/10/17, Robert Burridge. 9/25-9/28/17, Springfield.
6/18-6/24/17, Liz Kenyon. Contact: 630/851-2652
6/25-7/1/17, Paul Leveille. [email protected] or www.TomLynch.com
7/5-7/9/17, Paul George. Eric Wiegardt, AWS-DF, NWS
7/9-7/15/17, Tony van Hasselt. 3/6-3/10/17, Portland.
7/16-7/22/17, Gerald Brommer. Wiegardt’s Painterly Watercolors.
7/23-7/29/17, David Daniels. Contact: Oregon Society of Artists, 503/228-0706
8/2-8/6/17, Alvaro Castagnet.
8/6-8/12/17, Kim English. P E N N SY LVA N I A
Marjorie Glick
ROBERT BURRIDGE 9/3-9/9/17, Self-Directed Retreat.
9/10-9/16/17, Ann Lindsay. 9/11-9/15/17, Hummelston. Pennsylvania Watercolor
9/17-9/23/17, David Taylor. Society. Dynamic Color For Watercolorists. Stretch
• Burridge Studio App 9/24-9/30/17, Leah Lopez.
10/1-10/7/17, Skip Lawrence.
your perception of how you see, think about, and
interpret color while you learn to use color in fresh
10/8-10/14/17, John MacDonald. new ways. You’ll work on subjects of your choosing
• Free Online Newsletter 10/15-10/21/17, Fran Skiles.
Contact: 888/665-0044
and will re-imagine them using watercolors elusive
qualities of spontanaeity and transparency. My
• Free Weekly BobBlast [email protected] or www.artworkshops.com
Tony van Hasselt, A.W.S.
teaching style is relaxed, comprehensive, and
eclectic with an emphasis on creative color use. In
7/10-7/14/17, Greenville. Summertime in the Catskills. depth study of color mixing, wet into wet, layering,
• Current Workshop Schedule Five days of plein air painting fun while exploring light and shadow.
Contact: PWS Work Shops, [email protected]
the Hudson Valley. Discover quaint Rensselaerville
• Workshops in Bob's Studio and Athens, along the Hudson. All inclusive, tuition,
meals and accommodations. Demonstrations, lots
RHODE ISLAND
of individual painting time with personal assistance. Tom Lynch
Work in watercolor or acrylics. 5/2-5/5/17, Pawtucket.
Contact: www.vanhasseltworkshops.com Contact: 630/851-2652
[email protected] or www.TomLynch.com
NORTH CAROLINA
SOUTH CAROLINA
Anne Abgott, AWS, NWS
7/12-7/14/17, Couick Studios 3 day workshop. Art In The Mountains
Contact: Nancy, 704/541-6944 10/16-10/20/17 and 10/23-10/27/17, Charleston.
Charles Reid, Drawing and Painting with Charles Reid
RobertBurridge.com [email protected]
- Studio. Intermediate to Advanced.
John C. Campbell Folk School Contact: Tracy Culbertson, 503/930-4572
1/15-1/21/17, Gay Bryant, Watercolor I. $630. [email protected] or
2/5-2/11/17, Kathy Chastain, Watercolor for the True www.artinthemountains.com
Beginner. $630.
2/17-2/19/17, Virginia Urani, Get Your Feet Wet with Eric Wiegardt, AWS-DF, NWS
Watercolor. $354. 3/22-3/25/17, Myrtle Beach.
2/26-3/4/17, Nan Cunningham, Painting with Authority. Wiegardt’s Painterly Watercolors.
$630. Contact: Springmaid Watermedia, Susan
3/5-3/10/17, Teri Jones, Alcohol Inks - An Illusion of 800/770-7198, [email protected]
Control. $564. TENNESSEE
3/12-3/18/17, Annie Pais, Composing Dynamic
Watercolors. $630. Anne Abgott, AWS, NWS
Contact: John C. Campbell Folk School 6/1-6/3/17, Tellico Village. Three day workshop.
Brasstown, NC 800-FOLK-SCH or www.folkschool.org Contact: Cindy Vermeersh, 865/379-0402
[email protected]
Kanuga
4/23-4/27/17, Hendersonville. Don Andrews, Carol TEX AS
Frye, Ken & Stephanie Goldman, Paul Jackson, Karen Jan Sitts
Knutson, Sandy Maudlin, Joseph Melancon, Michael 4/5-4/8/17, Dallas. Texture/Color/Feeling.
Reardon, Jeanne Rosier Smith, Jo Toye, and Lian Artist Showplace.
Quan Zhen. Contact: 972/233-1223
Contact: Robbie Laird, 530/259-2100
www.KanugaWatermediaWorkshops.com
Iain Stewart
3/14-3/16/17, Dallas.
Tom Lynch Southwestern Watercolor Society.
11/10-11/12/17, Raleigh. Contact: [email protected]
Contact: 630/851-2652
[email protected] or www.TomLynch.com U TA H
Birgit O’Connor John Hewitt, TWSA, WHS
6/12-6/16/17, Boone. Cheap Joe’s. Fearless Flowers. 4/25-4/28/17, Flaming Gorge. $400.
Contact: Edwina, 800/227-2788 ext. 1123 Contact: [email protected] or johnhewittart.com
[email protected] Eric Wiegardt, AWS-DF, NWS
OREGON 6/5-6/9/17, Ephraim. Wiegardt’s Painterly Watercolors.
Contact: Summer Snow Visual Arts Workshop
Art In The Mountains Snow.edu
7/31-8/4/17, Bend. Richard McKinley, “A Central
Oregon Summer” plein air and studio. Intermediate to VERMONT
Advanced students. Anne Abgott, AWS, NWS
8/7-8/11/17, Bend. Herman Pekel, “The Importance of 7/12-7/16/17, Mad River. 3 day workshop.
Tone”, oil - plein air and studio. Come join a week of Contact: Gary Eckart, fi[email protected]
exploring the beauty of color in oils.
8/14-8/18/17, Bend. Herman Pekel, “Be Brave and
Tony van Hasselt, A.W.S.
Have Fun”, watercolor - plein air and studio. Unearth 7/17-7/21/17, Landgrove. Five days of plein air painting
fresh and honest art inside yourself and learn to fun exploring the bucolic charm of a rural summer
capture it with paint. landscape. Comfortable accommodations, gourmet
8/21-8/25/17, Bend. Fabio Cembranelli, “Intuitive meals and a spacious studio. Demonstrations, lots
Painting, Transcending the Subject!”, watercolor, of individual painting time with personal assistance.
studio. Learn to take advantage of transparent Work in watercolor or acrylics.
watercolor to create loose, intuitive, free and Contact: www.vanhasseltworkshops.com
spontaneous effects in your paintings. Eric Wiegardt, AWS-DF, NWS
8/28-9/1/17, Bend. Jane Davies, “100 Drawings, 6/19-6/23/17, Landgrove.
Paintings, and Explorations”, acrylic, studio. Composition: Creating an Area of Dominance.
How do you make good art? How do you make art Contact: Landgrove Inn
that is truly yours? artworkshopsatthelandgroveinn.com
ar tist’s marketplace
Vladislav Yeliseyev, NWS nearby villages. Lots of painting time and individual
7/31-8/3/17, Landgrove. InView Center for the Arts. assistance. 3 and 4 star accommodations and most
Watercolor Workshop. meals.
Contact: 800/669-8466, [email protected] or Contact: www.vanhasseltworkshops.com
www.artworkshopsatthelandgroveinn.com Vladislav Yeliseyev, NWS
VIRGINIA 9/11-9/18/17, Provence. Join Vlad in the heart of
Provence where he will show you how to quickly
Tom Lynch capture the essence of the scenery with dynamic
8/10-8/13/17, Richmond. (Plein Air WS)
Contact: 630/851-2652
and powerful impressionistic approach. Small group.
Contact: 510/483-5713, [email protected] 2017 WATERMEDIA
[email protected] or www.TomLynch.com
Iain Stewart
or www.frenchescapade.com/trips-painting-
provence.html WORKSHOPS
4/24-4/28/17, Falls Church (Northern, VA).
Potomac Valley Watercolorists. GREECE Hendersonville, North Carolina
Contact: [email protected] or John Hewitt, TWSA, WHS
www.potomacvalleywatercolorists.org 9/28-10/18/17, Greek Isles and Crete. Instruction - Sun.-Thu.
$4,000 (includes all expenses except airfare).
WA S H I N G T O N
Jan Sitts
Contact: [email protected] or johnhewittart.com (April 23-27, 2017)
8/7-8/10/17, Coupeville. Texture/Color/Feeling.
IRELAND
Contact: Lisa Bernhardt Kathie George DON ANDREWS
Lisa@PacificNorthwestArtSchool.org 6/20-6/30/17, Kinsale. Watermedia Workshop. Work
Eric Wiegardt, AWS-DF, NWS both in the studio and on location. Our days are CAROL FRYE
relaxing and informative. First-time plein air painters
2/20-2/23/17, Kent.
Composition: Creating an Area of Dominance.
you’ll find it painless! Advanced painters will discover KEN & STEPHANIE GOLDMAN
new techniques, creative solutions with color &
Contact: Joanne Iwasaki, 253/569-6006
5/2-5/4/17, Snoqualmie.
design and lot of inspiration. PAUL JACKSON
Contact: www.kathiegeorge.com
Wiegardt’s Painterly Watercolors.
Contact: Mt. Si Artists Guild, MtSiArtistsGuild.org I TA LY KAREN KNUTSON
5/15-5/19/17, Long Beach Peninsula. David Savellano
Wiegardt’s Painterly Watercolors. 6/6-6/20/17, Umbria. The Art of Travel.
SANDY MAUDLIN
Contact: Wiegardt Studio Gallery, 360/665-5976 Watercolor Workshop.
[email protected] Contact: www.DavidSavellano.com
JOSEPH MELANCON
7/10-7/14/17, Long Beach Peninsula.
MASA Paper: Exploration & Discovery. The Watermill at Posara MICHAEL REARDON
Contact: Wiegardt Studio Gallery, 360/665-5976 Unique painting workshops with renowned
international tutors at a beautifully restored 17th
[email protected]
Century watermill. Seven days, seven nights
JEANNE ROSIER SMITH
WEST VIRGINIA full-board accommodation. Painting in stunning
Jaimie Cordero locations, excursion to Lucca or the Cinque Terre. JO TOYE
10/26-10/28/17, Hedgesville. Translucent Fall Colors in The cost of the holiday workshop includes tuition,
Watercolor. 3-Day Plein-Air Watercolor Workshop. accommodation (including all linen and towels), LIAN QUAN ZHEN
Contact: Jaimie Cordero, 786/303-5293 pre-dinner aperitifs, all meals (including dinners
[email protected] with wine at charming local restaurants) and all local www.KanugaWatermediaWorkshops.com
transportation (including transfers to Pisa airport and
WISCONSIN an excursion by train to Lucca or the Cinque Terre). Robbie Laird, Director
Tom Lynch You get to Pisa, Italy; we do the rest! 530/259-2100 (Pacific Time)
7/10-7/14/17, Lac du Flambeau. The 2017 painting tutors at the watermill are:
Contact: 630/851-2652 5/13-5/20/17, Watercolours with Doranne Alden
[email protected] or www.TomLynch.com (from Malta).
Transparent Watercolor Society of America 5/27-6/3/17, Watercolours with Sandra Strohschein
6/5-6/9/17, Kenosha/Chicagoland. (from USA).
Jean Pederson, “Luscious Wet Portraiture”. 6/3-6/10/17, Oils and drawing mediums with Sarah
6/5-6/9/17, Kenosha/Chicagoland. Bruce Handford, Spencer (from UK)
“Light and Shadow in Rural/Cityscape”. 6/10-6/17/17, Watercolours with Keiko Tanabe
6/12-6/16/17, Kenosha/Chicagoland. (from Japan/USA).
Jean Pederson, “Wet Glazing Stills and Florals”. 6/17-6/24/17, Oils, acrylics, pastels and drawing
6/12-6/16/17, Kenosha/Chicagoland. mediums with Maggie Renner Hellmann (from USA).
Bruce Handford, “Bold and Fresh Water/Landscape”. 6/24-7/1/17, Watercolours with Lea Nixon (from UK).
Contact: Vickie, 262/484-1261 7/1-7/8/17, Watercolours (and oils, pastels and
[email protected] or www.watercolors.org acrylics) with Terry Jarvis (from Australia).
7/8-7/15/17, Watercolours with Sue Bradley (from UK).
W YO M I N G 7/15-7/22/17, Watercolours, pastels, collage and mixed
Tom Lynch media plus acrylic with Sue Ford (from UK).
6/5-6/9/17, Cheyenne. 7/22-7/29/17, Acrylics/watercolours incorporating
Contact: 630/851-2652 conte/pastel with Mark Warner (from UK).
[email protected] or www.TomLynch.com 8/26-9/2/17, Watercolours with Varvara Neiman
(from UK).
9/2-9/9/17, Watercolour and drawing (also gouache
International and acrylics) with Mike Willdridge (from UK).
9/9-9/16/17, Painting plants with coloured pencils with
AFRICA Janie Pirie (from UK).
Kathie George 9/23-9/30/17, Pastels with Rebecca de Mendonça and
4/20-5/1/17, Watermedia Workshop. Details of the Nel Whatmore (from UK).
adventure are described on the website. 9/30-10/7/17, Watercolours (and acrylics and oils) with
Contact: www.kathiegeorge.com Charles Sluga (from Australia).
Contact: Bill or Lois at [email protected] or
CHILE phone: +39 366 488 2587. More details on
Art In The Mountains www.watermill.net/painting-holidays
4/25-5/15/17, Santiago. Karlyn Holman, “20-Day South MEXICO
American Cruise”, watercolor plus, studio. All levels
welcome. Join us for the adventure of a lifetime.
Robert Burridge
Contact: Tracy Culbertson, 503/930-4572 1/21-1/28/17, Boca de Tomatlan. Tropical Painting
[email protected] or Workshop. Casa de Los Artistas. Boca de Tomatlan,
www.artinthemountains.com 10 miles South of Puerto Vallarta.
Contact: Robert Masla, 413/625-8383
FRANCE www.artworkshopvacations.com
Kathie George Tom Lynch
9/1-9/11/17, Le Vieux Couvent. Watermedia Workshop. 1/7-1/14/17, Puerto Vallarta.
You will be staying at the Le Vieux Couvent, which is Contact: 630/851-2652
a beautifully restored convent complex in the village [email protected] or www.TomLynch.com
of Frayssinet, nestled in the Lot Valley in France. The Tony van Hasselt, A.W.S.
village of Frayssinet is surrounced by wild meadows, 2/18-2/25/17, Boca de Tomatlan. Escape the cold
flocks of sheep, medieval hamlets and oak woods. to join this Tropical Escapaint in watercolor and
Contact: www.kathiegeorge.com sketchbook journaling. Be inspired in this safe and
Tony van Hasselt, A.W.S. peaceful little fishing village south of Puerto Vallarta.
10/13-10/23/17, Provence. A plein air watercolor and Excursions to nearby sites and the Bay of Banderas.
sketchbook journaling workshop. Unpack once and All inclusive, tuition, meals and accommodations.
paint in medieval Vaison la Romaine as well as in Contact: www.vanhasseltworkshops.com

picture this
B Y YA E L M A I M O N
“Wars are
poor chisels
for carving
out peaceful
tomorrows.”
—Martin Luther King Jr.
Yael Maimon
introduces
War Zone (watercolor on paper, 16x12) lighter fare
on page 40.
I live in Ashkelon, Israel, which is

located just 8 miles north of the
Gaza border. Needless to say, I live in
Edge. To capture the distant view of
combat, I aimed to render the dust,
ash and smoke—the chaos-texture
people look out their windows and
see a world devastated by hatred,
despair and war.
constant fear of attack. of high-tech combat. If you look out your window at
I painted War Zone immediately My painting demands visual and peaceful scenery, you have reason to
after the 2014 Israel-Gaza conflict, emotional attentiveness. It gives be grateful. Let us all live in a world
also known as Operation Protective the viewer an awareness that many of peace.
9 T H A N N U A L I N T E R N AT I O N A L
watermedia Ea rl y -B i rd
showcase D e a d l i n e:
J u l y 3 , 2 017
Your painting could win $2,500

and worldwide recognition!
Catapult your best painting into the spotlight by entering the Watermedia
Showcase competition. Winners and honorable mentions will experience
the joy of seeing their painting in the April 2018 issue of Watercolor Artist.
Enter by July 3, 2017, for your best entry price.
Best of Show:
$2,500
2nd Place: $1,250
3rd Place: $750
4th Place:
$500 Blick gift card
5 Honorable Mentions:
$100 Blick gift cards
Gift cards courtesy of
Watermedia Showcase
sponsor:
To the Church (watercolor on paper, 9½x13), Peto Poghosyan, Yerevan, Armenia
FOR A COMPLETE LIST OF PRIZES, CATEGORIES AND ENTRY DETAILS, VISIT:

artistsnetwork.com/watermediashowcase
The competition is open to artists anywhere in the world. All works must be original. Mixed-media entries are accepted,
but the primary medium must be watermedia on paper. There is no limit to the number of entries you may submit.
For additional guidelines and to enter online, visit artistsnetwork.com/watermediashowcase.
Harley's at Work (detail) by Lucy LeMay
www.llemaystudio.com
Made with Blick Artists' Watercolors

Professional-grade Blick Artists' Watercolors are made with rich, premium pigments
sourced from around the world. They deliver fluid, controlled washes time after time.
All 63 colors in the line exhibit the very best in transparency, luminosity, and permanent
brilliance, and are backed by our 100% satisfaction guarantee.
DickBlick.com 800.828.4548

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L’Aquarelle Canson® Héritage is a beautiful 100% Cotton watercolor paper

This unique paper oﬀers artists:

Available at Fine Art Retailers

Watercolor Artist | February 2017 1

Editor-in-Chief Kelly Kane

Printed in the USA

• 4 WEIGHTS • 100% COTTON

• 4 SURFACES • ACID-FREE & ARCHIVAL

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Helen Brown Nadine Charlsen Kathleen S. Giles

Olga Litvinenko Yael Maimon Enza Viceconte

This is the image

C onsidered the greatest British

Art and photo by Emily Cromwell, from Cloth Paper Scissors

Legends in the Palm

Watercolor Artist | February 2017 7

Discover How to Look at 35.

and Understand Art

F or the last four years, I’ve painted

Artist’s Network University

YOUR STORY IN ITS PAGES

See your work in The Artist’s Magazine! YOUR WORK ONLINE

'PSDPNQMFUFQSJ[FT HVJEFMJOFTBOEUPFOUFSPOMJOF WJTJU

Step 4: I brush over the entire

Emerald Art Center

Barrows Goldeneye (watercolor batik on paper, 4x6) features

Emerald Art Center

Watercolor Artist | February 2017 15

1 Non-Masking Paint Remover 1 Minty-Fresh Travel Palette

7 Kitchen and Medicine

Foam Noodle as Brush Holder 5

Watercolor Artist | February 2017 17

I have never seen any mountains

Richards had shown an interest in at the National Gallery. That same

June 3, 1833 1850 1854 1857 1866 1869

1870 About 1870 1874 1885 About 1885 Nov. 8, 1905

Watercolor Artist | February 2017 19

John Hewitt, WHS

2017 Workshop Schedule:

www.johnhewittart.com Check out John’s new book

in art, and she then attended the legendary

Watercolor Artist | February 2017 25

The Voice of the Sea

Watercolor Artist | February 2017 29

Watercolor Artist | February 2017 31

Watercolor Artist | February 2017 33

Watercolor Artist | February 2017 35

Watercolor Artist | February 2017 37

KK: What about watercolor particularly appeals

KK: What advice would you give to an artist just

Watercolor Artist | February 2017 39

Watercolor Artist | February 2017 43

Our feline friend has a long and notable iconic presence

Watercolor Artist | February 2017 45

Step 2: She created a pencil line

Step 3: Next, she applied a light

Step 4: She painted the goldﬁsh

Today I feel freer to experiment and to make