splash 14: light & color

BestofWatercolor

Splash14

Light&Color

editedbyRachelRubinWolf

CONTENTS

Introduction

1.FreshFlowers

2.ColorfulDestinations

3.TheStillLife

4.WaterandBoats

5.NotSoWildLife

6.OurDesignsandDevices

7.LandscapeView

8.PeopleinMotionandEmotion

Contributors

AbouttheEditor

Acknowledgments

Copyright

MorningCyclist|FealingLin15”×21”(38cm×53cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

LowSunProvidesUnifiedSilhouettedShapesAlthoughportraitsaremyfavoritesubjectsforwatercolor,IalsolovetheenergyIgetfrompaintinglandscapes.Forportraits,ItakeaZenapproach,glazinglayerafterlayeroftransparentwashes;forcityandlandscape,Irelyonaverylimitednumberofbrushstrokestotellthestory.Betweenthetwosubjectsandtechniques,I’vediscoveredanecessarybalanceinmypaintinglife.Workingfromaphoto,Isimplifiedthesilhouettedshapesandtooktheopportunitytoplaywithcolorinsidethoseshapes.

IntroductionTherearenotwowordsthatdescribewatercolorlikelightandcolor.Infactthesetwoartelementsarewatercolor’sessence.Thebreathtakingjoythatpromptsmanywatercolorpainterstopaintisawakenedinamomentofwonder—aglimpseofbacklithair,raysstreamingthroughawindow,adarkpurpleshadowagainstagoldentree.JanArchuleta’smomenthappenedwhenshesawechinacea“glowinginthe

sunlightandtheupperpetalscastdramaticshadowsonthelowerpetals.”KimJohnsonsawamanwhose“sunglassesandhatlefthimnearlyentirelyinshadow,butIlovedhowthestrongcastshadowssharplydefinedhisfaceandshoulder.”ForDaveMaxwell,“AnancientEnglishmotorcarwithchromesurfaces

reflectsmiddaysunlightfromasurroundingenclosureofbuildings,providingshapesforwhimsicalabstractdesigns.”Preparingforbreakfast,FrankSpinowascaptivatedbycolorwhilewatchinghiswifesqueeze“orangesovertheribbeddomeofthejuicerwhenoneofthoselonged-forlightningboltsofinspirationstruck.”InnorthwestChina,“thecombinationofwarmandcoolcreatesarich,

luminousfeelingofrays”forWen-CongWang,whileFealingLincreates“asaturatedpeachylight”tomakeherviewerfeeltherelaxationandwarmthsheexperienced.JimmyTablantewasinspiredbythe“deepemotivecolorscombinedwiththestrongcontrast”hesawwhilewalkingnearaparkinHonolulu.Thereisnothingthatsoinspiresusasthelightandcolorallaroundus.Ihope

thatthewonderfulartworkscollectedherewillstiryoutotakenoteofyourowninspirations,whetherinanexoticplaceorinyourownkitchenbeforebreakfast.—RachelRubinWolf

1

FreshFlowers

Tulips|KeikoYasuoka10”×15”(25cm×38cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaperIwaitedfortheearlyafternoonsunlighttobathethetulipsthroughthekitchenwindow.Thehighlightintheflowersisthepurewhiteofthepaper.Manylayeredwasheswereappliedtocreatethesoftandtransparentcolorsinthepetals.

Abundance|KathleenAlexander27”×39”(69cm×99cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedFabrianoArtisticopaper

ReflectYourFeelingsIpaintedAbundanceatatimewhenmyhusbandandIhaddecidedtomakechangesthatallowedmetopaintfulltime.IwasexpressingthesenseofabundanceIwasfeelinginmylife.ItookthereferencephotoforthispaintingintheNapaValley.Abundancebringstomindthehotsummersun,thesmellofripeninggrapesandrichsoil:themomentintimethatI’mtryingtosharewiththeviewer.Thehighcontrastbetweenthegrapesinthelightandthoseincoolshadowmakesthispaintingshine.

YellowHibiscus|KathleenAlexander21½”×29½”(55cm×75cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedFabrianoArtisticopaper

ThreePhotosEqualsOneCompositionYellowHibiscusbeganwiththreeseparatephotos.IusedAdobePhotoshoptopiecetogetherandresizeeachofthethreefloralelementsinthecomposition.Iestablishedtheshadowsandveinsinthepetalsfirst,usingCobaltBlueandWinsorViolet,thenglazedoverthepetalsusingAureolin,NewGamboge,QuinacridoneGold,PyrroleOrangeandNaphtholRed.Bydroppinginclearwater,Itookadvantageofbloomstoaddhighlightsandmoreveiningtexturetothepetals.IusedIndigointhebackgroundandcarrieditintotheveinsoftheleaves.ThecontrastbetweenoverlappingpetalsandbacklightingagainstthecomplementaryIndigobackgroundcreatesdramaandradiance.

SpringPreview|MichelleGollSmith18”×24”(46cm×61cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

PaintWhatYouAreDrawnToEveryFebruarythesaucermagnoliatreescomeintobloom.Ithinkofitasapreviewoftheupcomingspringseason.Myneighborhasoneofthesebeautifultrees,whichIhaveadmiredforyears,hopingtopaintoneofthoselarge,prettybloomsoneday.Finally,Iknockedonherdoorandshegladlycutafewofthemforme.Iplacedoneinasmallcrystalvasenearasunnywindowandlovedhowthepetalslitupandthecrystalcastcolorfulprisms.Imadethebackgroundsimpleandquitedarksothemagnoliawouldstandoutandlayeredseveraltransparentglazesfortherichcolorofthepetals.

Glimpse|JeanneR.Johnson21¾”×143⁄8”(55cm×37cm)Transparentwatercoloron400-lb.(850gsm)cold-pressedpaper

PhotographthePerfectMomentIwalkedthroughashadedgardeninFloridaandcameacrossthisbrilliantredflowerwedgedinacooldarkrockycleft.Thesunwasjustgoingdownandthelastnarrowbeamofsunshinespotlightedthefoliagebeforethecloudsshiftedandpushedtheimageintodarkness.Iphotographedthemoment.Iwantedtocapturethecontrastoflightagainstdark,hardedgesversusthesoftedges,andthebrilliantcolorsintheflowerandleaves.Iusedawet-into-wettechnique,relyingonspongestogetthetextureoftherockandthenbackpaintingintothesemarks.Imixmyblackstokeepthemwarmandvibrant.

thesemarks.Imixmyblackstokeepthemwarmandvibrant.

Sometimesagoodpaintingissimplytheresultofbeingpreparedtocatchauniquemomentintime.—JeanneR.Johnson

GreenwichParkRhodies|JaimieCordero11”×15”(28cm×38cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

StretchYourPaperforWetTechniquesDuringabriefandexceptionallysunnyvisittoGreenwich,England,IroseeachmorningatsunrisetowalktoGreenwichPark.Iwastreatedtodazzlingglimpsesofflowermarkets,sunlittrailsandsun-splashedgardensthatinspiredaseriesofpaintings.Itakehundredsofphotosoneachouting.Mypaintingshaveabrushlesslook,whichIachievebypouringpaintonoroffmypaper.Sincemypapergetssoaked,IfirststretchitandtackittoaGatorboardusingheavy-dutystaples.Thisensuresthatmypaperreturnstoacompletelyflatpositionaftereachlayerofcolordries.

positionaftereachlayerofcolordries.

Ifyouwanttoguaranteefresh,transparent,cleanresultseverytime,stickwithpigmentsthataretrulytransparent.—JaimieCordero

AfterShower|RanMu16”×22”(41cm×56cm)WatercoloronArches

ExpressBeautifulDetailWithYourBrushIalwaysenjoycreatingartworksusingplump-shapedandcomplexobjectsasmymodels.Paintingthesesumptuousobjectsislikere-creatingabeautifullife.Iaddplentyofwaterdropsontheflowertokeepitfreshandlively;Idonotusemasking.Thebackgroundisdonewithawet-into-wettechniqueforadeepbutsimplebalancetothepainting.

ButterfliesAreFree|NancyBaay20”×30”(51cm×76cm)Watercolorandcollageon140-lb.(300gsm)cold-pressedArches

PlayWithTissuePaperButterfliesAreFreebeganasanabstractunderpaintingwithanoverallsplashofcoloronwetpaper.Thebutterfliesappearedquitebyaccidentandbegantoinformtheflowershapesandnegativespacearoundthem.Iwantedthecompositiontohavemotionandharmony,soIusedthejuxtapositionofcomplementarycolors.Tissuepapercollagehasgivenmeanew“toy”toplaywithforaddingtexturetotransparentwatercolor.WhetherImakemyownmulticoloredsheetsoruseplainwhite(asinthebutterflies’wings)Ialwayshaveavarietyfromwhichtotear,cut,crinkleandglue!

BeautyBeheld|MarieLamothe23”×19”(58cm×48cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedcottonrag

Don’tOverlooktheMarkingsofTimeThevelvetyroseswereinhonorofourweddinganniversary.Forseveraldayssmoothperfectiongracedourlives.However,intheend,themarkingsoftimeweremostevocativetomyartisticsoul:thepoeticnodtoinevitability,thesubtlebutbeautifuldiscolorations,andthelacy,shrivelededgessetablazebythelowautumnalsun.Thedark,lusciousbackgroundechoesthecolorofthepetalsand,alongwiththegreenofthestemsandglass,createdalimitedpaletteandprovidedastrongfoilforthepainting’sfocalpoint:thegloriouslight.

Theartistgazesuponarealityandcreateshisownimpression.Theviewergazesupontheimpressionandcreateshisownreality.—RobertBrault

Encore|MaryBacker29”×41”(74cm×104cm)Transparentwatercoloron300-lb.(640gsm)roughArches

Try“WetBlending”Theblossomsofthiscactusarebasicallywhite.Whitehassomuchcolorinit;inthisinstanceIsawcreams,pinks,violetsandawarmgray.IuseatechniqueIcall“wetblending.”Iaddwaterand/orcolorasIpaintondrypaper.Thisallowsthecolorstoblendinamorecontrolledversionofworkingwet-into-wet.Theformsandcolorintensityaredevelopedslowlywithmultiplelayersofpigment.ThiscactuswasgrowingwildinacoastalfieldinSantaBarbara,California,strugglingtosurviveinaharshenvironment.Thisisanareathatisfastdisappearingtodevelopment,andIwantedtocapturethehopethatbeautywillsurvive.

HealingEchinacea|JanArchuleta20”×14”(51cm×36cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

GrabYourInspirationIwasbikingalongtheYampaRiverinthemountaintownofSteamboatSprings,Colorado,andnoticedabackentrancetotheBotanicalGardens.Iwalkedthroughthegardens,andIwasinspiredtodoapaintingoftheechinaceathe

momentIsawthem.Theywereglowinginthesunlight,andtheupperpetalscastdramaticshadowsonthelowerpetals.Igentlytouchedtheflowersandunderstoodhowdelicatethepetalswereincontrasttothefirmcenters.ItookseveralphotosfromdifferentanglesasIstudiedtheflowers.IpaintedHealingEchinaceainmyhomestudiousingalimitedpaletteofQuinacridoneRose,UltramarineBlueandalittleAureolinYellow.

Mr.Daly’sRoses|DonnaLesley20”×26”(51cm×66cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

ExperimentWithDifferentLightingConditionsMr.Daly’sRoseswasquiteadepartureforme.Ihadalwayslookedforbrightsunlightandwell-definedshadowsinmyreferencephotos.HereIhaveattemptedtocapturethealmostother-worldlyluminosityofrosesinthediffusedlightofanovercastday.Toenhancethiseffect,Ideliberatelydarkenedthebackground.Ialsotriedtoemploystrongcontrastsinordertoheightentheelementsofthepainting—hardedgesagainstsoftedges,warmagainstcool,and

lightagainstdark.Becauseofthechallengesoftheunusuallight,thispaintingwasgreatfuntodo.Iwillbeexperimentingwithdifferentkindsoflightingconditionsagaininthefuture.

ParrotTulipWithBlue|AlfredNg20”×20”(51cm×51cm)Transparentwatercoloron140-lb.(300gsm)roughpaper

MinimizeLayerstoPreserveTranslucencyIwascaptivatedbythedramaticformandflamboyantcolorsofthistulip.Thetwisted,curledandfeatheredpetalshadmanyinspirationalabstractelements.Istartedwithasimpleoutlinedrawing,thenweteachpetalareawithcleanwater.Usingawet-into-wettechnique,Idroppedintensecolorandallowedthecolorstofusetogether.Usingacombinationofwet-on-dryanddry-brushtechniques,Iworkedonthedetailsoftheflower.Inordertopreservethebrilliantand

workedonthedetailsoftheflower.Inordertopreservethebrilliantandtranslucentqualityofthecolors,Ikeptthelayersofwashestoaminimum,payingspecialattentiontothelightsandhighlightsinordertobringoutthethree-dimensionalformoftheflower.Fortheabstractbackground,Iusedamutedgreenishgraywithsomebluetonesandochretosuggestalightsourceandtoadddramaticsupporttothiscolorfultulip.

2

ColorfulDestinations

Fishmarket,Venice|KristinaJurick14”×21”(36cm×53cm)Watercoloron140-lb.(300gsm)grainfinArchesForonegloriousweek,IpaintedinVenicewithfourartistfriends.Weroseearlytocatchthefantasticmorninglightstreamingthroughtheredplasticcurtainsofthefishmarket.Itwasnoteasytofindasmallcornertosetupaneaselinthehustle-bustle.Thecolorsplashesonthewalltoldmeotherartistshadbeentherebefore.Touristsstillasleep,aradioplayingandonehappysalesmansingingalongtooperaontheradio.Whataninspiringatmospheretopaint!

Wicked|DonGore12”×12”(30cm×30cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

Don’tOverlookSimpleSnapshotsFromLifeThisparticularcompositioncaughtmyeyewhileonvacationinNewYork.Outofthemuchlargeroverallviewofthephotograph,mysubjectwascroppeddowntothesceneinthispainting.Iwasdrawntothedarkshadowsoftheforegroundagainstthesunlightacrossthestreet,whichprovidedthebasisforthepiece.The

againstthesunlightacrossthestreet,whichprovidedthebasisforthepiece.Thecombinationofcolor,starkwhiteofthepaperandtheverydarkforegroundresultedinapaintingthat,forme,portraystheenergyandeverydaylifeofthisamazingcity.

42ndStreetPizza,NewYork|CharlotteKnox40”×16”(102cm×41cm)Transparentwatercoloron140-lb.(300gsm)roughArches

NoticetheLightandColorYouHurryByForthispaintingIworkedfromphotographstakenonmywaytoandfromaSundaybrunch.Thelightwasn’tquiterightonthewaythere,butwhenIcamebackitwasperfect.Iespeciallywantedtocapturetheintriguingshadowscastbythefireescape,soquintessentiallyNewYork.Beforestartingonthe

bythefireescape,soquintessentiallyNewYork.BeforestartingonthewatercolorIspentsometimeusingPhotoshoptocropandrearrangetheelementssoastobringthemtolifeandcreateacompositionreflectingwhatoriginallyexcitedme—thelightandcolorwenormallyhurrypastwithoutfullytakingin.

TheMall|JohnSalminen29½”×35”(75cm×89cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

CreatingtheEffectofFilteredLightIrecentlyvisitedNewYorkjustafterawintersnowstormandfoundthetreescoatedwithsnow.Asthesuncameout,thelightfilteringthroughthebranchescaughtmyattention.Mychallengewastore-createtheeffectoffilteredsunlightenhancedbythefrostandsnow.Toaccomplishthis,Isaturatedthenegativeshapes(thespacesbetweenthebranches)withcolorandusedthefiguresintheforegroundtogivescale.Theneutralcolorsoftheirclothingprovidecontrastforthewarmlightilluminatingthescene.

MarketStreet|JohnSalminen35”×35”(89cm×89cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

CreateNewLightConditionsifYourPhotoisFlatIpaintedMarketStreetfromaphotoItookwhenIwasinSanFrancisco,oneofmyfavoritecities.Thelightinmyphotoreferencewasflatanduninterestingdue

tothemiddayhazeintheair.WhilethephotorecordedthedetailIneeded,itlackeddrama.Imadeadecisiontochangethelightqualityandinventedamoody,evocativerainy-dayscene.Iaddedthefiguretogivethepaintingafocalpointandtoenhancethemood.

ConcreteFactory–Vancouver|ThomasW.Schaller30”×22”(76cm×56cm)Transparentwatercoloron140-lb.(300gsm)roughSaunderspaper

IndustrialLandscapesOfferRichLightsandDarksIattempttoexploitthefullrangeofwatercolor’spotentialwithinasingleworkwheneverpossible:usingeverythingfromverywet-into-wettechniques,tonear-opaquedrybrush.Thissubjectperfectlyrepresentsmycurrentinterestin

opaquedrybrush.Thissubjectperfectlyrepresentsmycurrentinterestinabstractvaluecompositionwithinarepresentationalformat.Surprisingandinspirationalareasofbrightlightsandrichdarksareoftenfoundinsuchindustriallandscapes.Iamfascinatedbyboththeshapesofthebuiltenvironmentandthestoriesthatthoseenvironmentshavetotell.Factoriesandindustrialscenesholdrichandcountlessstoriesofallthosewhoplanandworkinthem.

ShadowsoftheTuscanSun|JudyNakari21”×21”(53cm×53cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedAches

AVarietyofYellowsPortraysaSunnyDayIledpleinairpaintingworkshopsinTuscany,nearthevillageofLuccafrom2003through2007.Thispaintingportraysavacationfeeling,inthiscase,theCinqueTerra.Workingfrommyphotograph,thebrightyellowumbrellaswith

CinqueTerra.Workingfrommyphotograph,thebrightyellowumbrellaswiththeircolorfulshadowsleavenodoubtthatthisportraysasunnydayinItaly!TheumbrellasarepurepigmentsofAureolinYellow,CadmiumYellowandQuinacridoneYellow,appliedwetandallowedtoblendtogether.Tofurtheremphasizethewarmthoftheday,Ioutlinedsomeshadowswithyellow.

Pantheon|JenniferAnnesley21”×14”(53cm×36cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

LetAncientLandmarksInspireYouRome’sPantheonfiguredlargeinmyarthistorystudies,butthescaleandbeautywerelargerthanIhadimaginedwhenIfoundmyselfrightthere.Theporticocolumnsaresomassive,onefeelsasifoneisstandinginamonumentalancientforest.Thelyricalplayoflightonthepolishedmarbleandworn

ancientforest.ThelyricalplayoflightonthepolishedmarbleandworncobblestonesofthePiazzadellaRotondabalancestheheavinessofthecolumns,whilethecomplementarycolorsofthemidnightblueofeveningandtheburntorangefacadescreatecounterpointandvibrancy.Contrastiskeyincreatinglight:thedominantdarkshadowscreatetheillusionofthelampsactuallyemittinglight.

Teatro|JenniferAnnesley14”×21”(36cm×53cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

ComplementsCanGiveRelieffortheEyeWhileinRome,eacheveningwewalkedbythiswonderfulfacadethatremindedmeofavintagetheater.Itsgracefulironawningandelaboratelampswereawelcomingbeacon.Iphotographedthisentranceeverynightforaweek.Backhomeinmystudio,Ireferencedseveralofmyphotographstocomposethispiece.Paintinglightinwatercolorrequiresmuchplanninganddiscipline.Thechallengeisleavingthepaperblankwherethelightsandspecularhighlightsaretoconservethebrightestwhitepossible.ThecoolertemperatureoflightiscreatedwithParisblueinthehaloaroundthetwolightsintheawning.Theuseofbluegivesreliefandacounterpointtotheoverallwarmgoldtone.

Minerva–G.C.T.|MichiyoFukushima19¼”×28”(49cm×71cm)Transparentwatercoloron140-lb.(300gsm)hot-pressedpaper

UnderstandYourLightSourcesUsingmyphotoreference,theformiscreatedanddefinedlittlebylittlebybuildingvalueswithmultiplewashlayers.Itisessentialtodemonstrateunderstandingofthelocationandnumberoflightsources,especiallywithnightsceneswhereartificiallightvariesinstrengthandcolor.Maintainingthree-dimensionalformandconsistentlightingischallenging,butfocusingonvaluehelpstheprocess.Wherelightexists,shadowexists.Thereisafullspectrumofcolorinlight.Beautyisfoundinanysituationwherelightandshadowcreatecolorfulharmony.

NightinDresden|FealingLin15”×21”(38cm×53cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

AColdNightSceneWarmsHeartsDresdenwastotallydestroyedbythebombingduringWorldWarII.IwasoverwhelmedbythiscompletelyreconstructedcityinGermany.ThescaleandbeautyofthearchitecturetookmybreathawayasIwanderedinthestreetsonmanynights.Ididthispaintingasademoforanartassociationonaverycoldwinternight,aftergettinglostforanhourinthedarkonmywaytothelocation.Howfuntopaintoneofmyfavoriteteachingsubjects—anightscene—onthatnight.Thesmallroundstreetlampswereliftedshapes.Thelamppostsandlightlinesinthestreetwerescrapedbyacreditcard.

AcrosstheStreetFromGrandCentral,NYC|DorrieRifkin16”×20”(41cm×51cm)TransparentwatercoloronStrathmoreWetMediaBoard

ColorfulStoriesofaNYCStreetIpaintonaboardthatcantakeabeating.InthispaintingIwantedthepeople,graphicsandcarstotellthestory,soIpaintedthemfirst.SinceitwaswinterIknewcoolbluesandpurpleswerethewaytogo.Iwasabouttopaintthebuildingsadarkblue…butalittlevoiceinmyheadsaid,“Dorrie,don’tdothat.Stop.”Ileftthepaintingforafewdays.WhenIcameback,Iusedbright,intensewarmcolorstohelpinvitetheviewertolookaroundandstayawhile.Ithankedthelittlevoice.Millionsofpeoplehavewalkeddownthisstreet.Boy,ifitcouldtalk,whatstoriesitcouldtell!That’swhyIlovepaintingNewYorkscenes.Italwayssparksaconversation.

CityofLight,Paris|FrankEber15”×11”(38cm×28cm)Transparentwatercoloron140-lb.(300gsm)roughArches

CoolParisLightUnlikeSouthofFranceWhatIloveaboutParisisthediffuselightthatweavesaroundthestarkshapesofitsbuildings,especiallyduringsunriseorsunset.Detailsarekepttoaminimumtoemphasizethesoftnessofthislight.TheParisiansontheleftarereallyjustlines.Basedonanon-sitesketch,IwashappytocapturetheessenceofurbanParis.Juxtaposingwarmandcoolwasheswasatechnicalchallenge;I

ofurbanParis.Juxtaposingwarmandcoolwasheswasatechnicalchallenge;Ipushedcoolvaluesfurtherbacksobuildingsrecededdramatically.Franceisafavoritepaintingdestinationforthedifferenceinlightbetweenthenorthandsouth(comparemypaintingonpage67).

WaitingfortheLunchtimeCrowd|CarlaGauthier30”×22”(76cm×56cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

BacklightingTransformsaSceneTocapturerichdarks,backlitsubjectmatterrequirescolorfulunderpainting.Golds,redsandbluesarelaiddownfirst,thenrichdarksarelayeredover.Onedarktubecolorwillnotcutit!Butultimately,thispaintingisnotaboutcolor,butaboutlight.ThemiddaysunlightprovidedadramatichaloforthishumblewaiterintheshadowedVenetianArcades.Thisisnotyouraveragelunchspot—thesoaringceilings,theviewsofSt.Mark’s,thesculpturesflankingthe

restaurant,andthegelato!

Backlitsubjectmatterrequirescolorfulunderpainting.—CarlaGauthier

ShanghaiRainyDay|ZhanguoLiu165”×228”(420cm×580cm)WatercoloronLanawatercolorpaper

FindYourKeynotesofColorandValueItseemsthatwatercanbesqueezedfromtheairintherainyseasonofShanghai—whichsuitswatercolorpaintingjustfine!Itookaphotoofthebeautifulsightthatday.Backhome,IsaturatedtheLanapaperwithwateronthereversesidefirst,thenthekeynotesofcolorandvalueweresetwithabroadbrushonthefrontside.Itakemytimefindingtheshapesofthebuildings.Thereflectionofthecarlightontheslipperyroadwasreservedinadvance—Ineverusemaskingfluid.Finally,thewholepicturewascompletedleisurelyonthebasisofthekeynotes.

MyPerspective|CatherineHillis16½”×17”(42cm×43cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArtisticoFabrianopaper

BuildLightWithManyWetGlazesMichelangelo’sDavidisawonder.AsIwalkeduptotheiconicsculpture,theroomwasinfusedwithasoftlightthatseemedtocloakthestatueinanaura.Theaweofthecrowdvibratedintheair.Ihadtopaintthisscene—tocapturethestudents,thetouristsandthegreatstatue.Iwantedtopaintthelightcomingfromaboveandthepopsofcolormovingbetweenfigures.WhenItookthisideaintothestudio,Idecidedtoplaywithmydesign,hopingtoimbuethesolemn

scenewithabitofhumor.Ipaintedmanywet-into-wetglazesinthebackground,buildinglight,hopefullyaddingasenseofwondertothescene.

Playwithyourdesignandleavesomethingstotheviewer’simagination.—CatherineHillis

BridgeNymph|DavidWicks18”×24”(46cm×61cm)Transparentwatercolorandacrylicon300-lb.(640gsm)cold-pressedpaper

LiquidAcrylicsYieldBrightGoldIencounteredthismust-paintsubjectonatriptoParis.Thetwothingsthatinspiredmemostweretheserenefaceandthewaythegoldaccentsprovidesuchstrongcounterpointtothegrays.Thechallengewasintryingtoachieveastrongsenseoflightanddramawithalimitedpaletteofcolors.ThegrayswerepaintedinthinwashesofUltramarineLightandBrownMadder,withRawSienna,Roseandothercolorsdroppedintowetwashes.Ifoundthroughexperimentationthatliquidacrylicsprovidedthebrightestgold,whichwasessentialinconveyingthecounterpointtothegrays.

Exodus|AntonioMasi30”×40”(76cm×102cm)Watercoloron300-lb.(640gsm)roughpaper

LightCreatesMoodTheimagewasbyfromarideacrosstheVerrazano-NarrowsBridgeoneFridayafternoon.Iwastryingtocapturethemassexodusthatoccursatthestartofalongweekend.Ipaintedthisfrommemory,photographsandquickthumbnailsketches.Myapproachwasdirectandquick.Iputdownlargebrushstrokesfollowedbyglazing.Iconstantlystrivetokeepthefirstimpressionthatinspiredme.InthispaintingIwasstruckbytheplayoflightlateinthedayandthegoldenlight.

Strivetokeepthatfirstemotionalmoodthatinspiredyou.—AntonioMasi

Paris|ChizuruMoriiKaplan41”×29”(104cm×74cm)Transparentwatercolorwithwhitegouacheon500-lb.(1060gsm)roughArches

WatercolorLightImitatesLifeAgorgeouscleardayinPariswasquicklycoveredwiththickstormycloudsandgotverydark.Thensuddenly,likeaspotlightbeamedatanactoronablackstage,thestrongsunlighthitthisParisianarchitecturecausingittostandoutfromthedarkness.Ibeganbyboldlypaintingthedarkestformsofthebuilding

fromthedarkness.Ibeganbyboldlypaintingthedarkestformsofthebuildingwithahardbristlebrush.Thenwithabighakebrush,Ipaintedthelargeshadowsanddeconstructedthebuildingdetails.Whenthedarkcolorfortheskywasapplied,suddenlyanddramaticallythepaperwhiteIleftforthesunlitpartofthestructureappearedasadazzlinglight.JustlikethatdayinParis!

LionsontheAvenue|PaulMason15”×22”(38cm×56cm)Transparentwatercoloron300-lb.(640gsm)roughFabrianoArtistico

LayersofWarmandCoolColorsDefineFormForme,theactofpaintingisaprocessofdiscoveringhowmyexperienceofthesubjectbecomesapainting.ThoughIamarepresentationalpainter,artisticcolorismoreimportantthan“naturalistic”color.Ifirstusetransparentcolorstodefineanunderlyinggeometricstructureofthecompositionandcolorkey.Uponthatareappliedoverlappinglayersofbothwarmandcoolcolorstodefineforminlightandspace.Thiscreatesagreatersenseofspacethanrelyingonthebasicwarmforeground/coolbackgroundapproach.

TheCastleGreen|BrendaSwenson30”×22”(76cm×56cm)Watercolor-stainedpapercollageon300-lb.(640gsm)watercolorpaper

CollageStartSimplifiesShapesThepresenceofstronglightandshadowsiswhatdrawsmetoanysubject.Workingfromlifehastaughtmetobeanardentobserver.InmystudioIprefertoworkfromlocationsketchesformylargerpaintings.Iwillalsousephotographsforarchitecturaldetails.IstartbystainingJapanesepapers(4”×9”[10cm×23cm])withwatercolor.Istainenoughpaperstogivemeawide

9”[10cm×23cm])withwatercolor.Istainenoughpaperstogivemeawiderangeofcolorchoices.NextIblockinthesubjectwiththesecolorfulpapers.Theentiresurfaceofwatercolorpaperiscoveredwithcollage.AtthisstageIbeginpainting.Thistechniquehelpsmetosimplifyshapes,abstractforegroundandpushcolor.

ButIsItArt|SusanM.Stuller21”×29”(53cm×74cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

LargeValuesMustBeCorrectBeforeDetailOnarecenttriptoLondon,myhusbandandIwereoutexploringwhenwestumbleduponthisskateboardparkbytheThames.Thelightwassopoor—allgrayandmuted—butthescenebeggedtobepainted,andItookseveralquickphotos.Iworkedupseveralsketchesuponmyreturn,eliminatingtheskateboardersandaddingthethreefigures,thuscreatingthe“gallery”mood.Valueandcolorwerebuiltupgraduallyasallofthelargeareasneededtohavetheirvaluescorrectbeforethegraffitidetailwaspainted.Thelightbeamandforegroundwasamomentofdivineinspirationthatpulledthepaintingtogether

foregroundwasamomentofdivineinspirationthatpulledthepaintingtogetherintheend.

Forapaintingtobesuccessfulyoumustputapartofyoursoulintoit.—SusanM.Stuller

BurrardSt.Vancouver,BC|RonStocke21”×14”(53cm×36cm)Watercoloron140-lb.(300gsm)cold-pressedpaper

ShadowsPullYouIntothePaintingThispaintingwasdoneonatriptoVancouver,Canada.Vancouverisallaboutthelighthere,anditwasoneofthosegreatwarmdaysinlatefall.WithalimitedpaletteofCobaltBlueandayellow-orange,Ikeptthedistantbuildingsimpleandcoolintemperaturesoitwouldn’tcompetewiththelightbreakingthroughthetreesontheright.TheseIhandledwithacombinationofwetand

throughthetreesontheright.TheseIhandledwithacombinationofwetanddrybrushstrokesmakingthisareaofthepaintingmoredimensional.Theshadowsbringtheviewer’seyeintothecompositionandaddmysteryandlostareastothepainting.

3

TheStillLife

RipeningPumpkins|StevenKozar10”×14”(25cm×36cm)Watercoloron156-lb.(335gsm)hot-pressedArchesIsetupandphotographedthisstilllifeatalocalfarm.Themorningsunaddedvibrantlightanddarkdrama.Iwaschallengedtofaithfullydepictthegreenish“veins”onthesurfaceoftheunripepumpkins,andwasverydeliberateinmyuseofwarmandcoolcolorstorepresentsunlightandshadow,eventhetiniestshadowsintherocks.

MySpecialPlace|KeikoYasuoka16”×22”(41cm×56cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

SoftEdgesExpressRelaxationIcreatedanimageinmymindofaspecialplacethatIcouldretreattowhenIwanttorelax.Ithenconvertedtheimageintoamotiftopaint:abedroomwiththelateafternoonsunflowingthroughthewindowandbathingthebed,pillowsandmyfavoritebookswithsoft,warmlight.Igravitatetowardnaturallightandcolors,soIusedwhatIconsiderearthtones:RawSienna,BrownMadderandIndigo.Limitingmypalettetothesethreecolorscreatedharmony.Usingglazes,stipplingandscrubbingtechniquesresultedinsubtlevaluechangescoupledwithsoftandvanishingedges.Ileftjustenoughhardedgestocreateinterest.

Clementines|KarinIsenburg17¾”×24½”(45cm×62cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

GlazeShadowColorsOnebyOneThewaytheclementineorangecolorreflectedontheblueandwhitepolka-dotmaterialparticularlyinspiredme.Asachildourfamilywentonmanycartrips.Mydadwouldoftenlookupattheskyandsayitwassalmonbluepink.Neverjustblue.AsanartistIhavelearnedtoseecolorinobjectsandtheirshadowsandtoexpresswhatIseebylayeringthecolors.InClementinestheshadowswereamyriadofbeautifulcolors.Iappliedeachcolorinthinglazes,lettingeachonedryinbetween.Theresultwasseeingeachcolorreflectingthrutheothersinawaymixingcolorsnevergaveme.Salmonbluepink…thanks,Dad.

SoleMates|AnneChaddock20”×29”(51cm×74cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

ChaosWithContinuityAbasketonaboattoremindyoutoremoveyourshoeswhenyouboard!Asalandlubberthiswasnewstome,andIfounditafascinatingsubjecttopaint.Ilovedthechaos-with-continuity.Ihopeviewerscanfeelthewarmthofthedaybythestrongsunandcastshadows.Ibelievevioletsareeverywhereandthispaintingiscertainlybornofviolet.UltramarineorCobaltBluewithPermanentRosegivesbeautifulpurples.ForaslightlyquietervioletIuseAlizarinCrimsoninplaceofthePermanentRose.Toneutralizetheviolet,substituteRawSienna.ThedarkesthuesaremadeupofUltramarineBlueDeepwithTransparentRedOxide.OnthewhiteshoesIlayeredthinglazesofonetransparentcoloroveranothertorepresentthestrongsunlightbouncingoffthesurface.

Ifindoubt…paintitpurple.—AnneChaddock

RealCherries|PennyThomasSimpson14”×18”(36cm×46cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

BacklightingAgainstDarkBackgroundGlowsWhenIpaint,lightingiseverything.Ihavetotakealotofphotographsinordertogetthelightingjustrightsincemyskilldoesnotlieinphotography.ImostoftenusebacklightingbecauseIwantmysubjectstoactuallyglow.Ihavenointerestinpaintingbackgrounds,soIusuallyjustpaintthemblack,andthiscertainlyallowswhateverIpaint,eitherstilllifeorflowers,tocometolife.Real

Cherriesispartofaseries.Eachpaintinghadfewerandfewercherriesinituntilthelastcherrywasgone.Delicious!

ClearGlassware|LaurinMcCracken12”×28”(30cm×71cm)Transparentwatercolor

ReflectionsandRefractions:GlassClearGlasswareisthefirstofaseriesofpaintingsthatIrefertoas“theglasswareyougrewupwith.”Theseincorporatetheglasses,jarsandbottlesthatusedtobefoundinalmostanyAmericanhome,atleastinyourgrandmother’spantry.Paintingglassisallaboutthelightthatisreflectedandrefractedfromandthroughthepieces.Inordertomakethehighlightsaswhiteastheyneedtobe,therestofthepaintingmustbeashadeofgray.Thiswatercolorwasappointedfromaphotograph.Isetupthestilllifeusingasinglelightsource.ItispaintedinthetraditionalEnglishtransparentwatercolorstyle;thewhitesarethewhiteofthepaper.

YearoftheRabbit|PatriciaSchmidt21”×14”(53cm×36cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

CheeseclothHelpsDevelopTextureThewarmglowoflightismyfavoritesubject.Iespeciallylovetocreateatrompel’oeileffectbyusingavalueunderpaintingintheshadows.InYearoftheRabbit,Iputcheeseclothonthepaintedfabricshadowsandpaintedadark

layerofBurntUmberontop.Whenthecheeseclothwasremoved,adarkpatternoflinesremained,suggestingthefabricweave.AdditionalBurntUmberwashessculptedthevalueunderpainting.MoreglazesofAlizarinCrimson,PermanentRoseandgreenmixturescompletedthefabricpatterns.Hardandsoftedgesonthepearandrabbitshadowscontributetotheillusionofbrilliantsunlight.

PaintedWithaRoller|F.CharlesSharpe22”×30”(56cm×76cm)Transparentwatercoloron140-lb.(300gsm)roughpaper

OldBucketsInspireaLooseApproachWhilesearchingforadifferentsubjectmattertopaint,Idiscoveredthesewell-usedpaintbucketsonatableinanoldboatshed.Knowingthatthelightwouldlastonlyafewminutes,Iquicklymadeseveralphotographsandusedthemtocreatethefinalcompositioninmystudio.Thestrongsunlightstreamingthroughthedoorcreatedsomedifferentandvariedwhiteshapes,whichIchosetoleaveasunpaintedpaper.Ithenpaintedtheshadowsandbucketsawayfromthelightwithasmuchcoloraspossible.Theseoldbucketshaveinspiredmetoexperimentwithmorecolorandalooserapproachtomypaintings.

Anticipation|CarrieWaller23½”×32”(60cm×81cm)Watercoloron260-lb.(360gsm)cold-pressedArches

MorningLightProducesStained-GlassEffectChildhoodmemoriesofmygreat-grandmother’scanningpantryweretheinspirationforthispainting.ThewaythesunlightfilteredthroughthewindowontoherBalljarscreatedastained-glasseffectthatIwantedtorecapture.Insettingupmystilllife,Iuseddramaticmorninglightingandthenphotographedthejars.AtfirstglanceAnticipationmayseemdevoidofcolor,butuponcloserinspectionburstsofgold,turquoiseandUltramarineBlueareeverywhere.Imethodicallypaintfromrighttoleft,completingasectionbeforemovingtothenext.ThisensuresthatI’mhappywiththeoutcomeofthepainting.

CootchieCoo|SuziVitulli10”×13”(25cm×33cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaperwithmetallicaccents

CozyUptoYourHappyAccidentsCootchieCoowaspaintedinthestudiowhilestudyingahandfulofbeautifulpeacockfeathers.Thecolorsofthefeathersseemedtomoveinthelightgivingthemawonderfultranslucent,evenopalescentappearance.Totrytocapturethis,IletthepaintblendandoverlapasIlaycolorsnexttoeachotheronslightlydamppaper.Ipaintedthefringe/barbwithaloadedrigger,reloadingbetweeneverystroke.WhenIbroughtthispieceinforframing,Iaccidentallysigneditupsidedown.Myheartsank.ButwhenIlookedatitinthisnew

direction,Inoticedthebiggerfeathercozyinguptothesmallerone.That’swhenitcametometonameitCootchieCoo.Ilovethosehappymistakes.

WaitingintheWings|ChrisBeck12”×12”(30cm×30cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

ComputersGiveNewArtisticToolsUnlikethemajorityofmystilllifes,thisoneisacompositeoftwoelements—aphotoItookofmysillyvintagesaltshakersandavintagecircusposterthatIscaleddownforthebackground.ImergedthetwoimagesinmyworkingsketchandthenadjustedthecolorsandvaluesasIpainted.Takingphotosofthework

andthenadjustedthecolorsandvaluesasIpainted.TakingphotosoftheworkinprogressandmanipulatingtheminPhotoshop,Itriedoutvariationsbeforepaintingthem.Asaresult,Ideepenedthevalueofthecircusposterimageswithcolorfulwashesuntilthesaltshakersreallypoppedoutvisuallyandappearedbathedinlight.

AnotherRoundofPrimaries|RobinLeeMakowski14½”×17”(37cm×43cm)Transparentwatercoloronhot-pressedCansonragboard

ManyLayersofDry-BrushGlazingAnotherRoundofPrimariesisfrommyHappyHourseries.Allofmystilllifesaresetupinnaturallight,andthecompositionisdevelopedfrommyphotos.Backlightingisimportantinmanyofmypaintings.Withthisimage,theglowofthesunthroughtheiceandthecondensationontheglasswerechallenging.Iaccomplishedthisonthesmoothsubstratewithmanylayersofglazingwithaverydrybrushandpaintingaroundthewhites.Whileprimarycolorsstar,many

colorsplaythroughoutthecomposition.Thetitle’sdoubleentendre:intoday’spoliticalatmosphereagood,stiffdrinkhelps!

Papaya|KarenFletcherBraverman22”×30”(56cm×76cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

LetYourSubjectGuideYouSometimesinspirationcanbehardtocomeby,andsometimesitmagicallyappearsinyourcameralens.MyinitialideawastopaintaseriesofstilllifesfeaturingdifferentpiecesoftheblueandwhitechinaIhavecollectedovertheyears.AsIbegantophotographthechinainvarioussetups,Iincorporateddifferentobjectsthatwouldenhancethechina.Originallythepapayainthesetupwassimplytoshowoffthebowlwithacomplementarycolorscheme.However,asIphotographedthesetup,thepapayaquicklyupstagedthebowlandbecamethestaroftheshow.Thiscolorfulfruitwillhavetohaveaseriesofitsown.

itsown.

FreshSqueezed|FrankSpino17”×15”(43cm×38cm)TransparentwatercoloronArcheswatercolorboard

PaintFirst,BreakfastCanWaitThereisnothinglikefreshsqueezedorangejuicetostarttheday.Iwatchedasmywonderfulwifetwistedandcrushedtheorangesovertheribbeddomeofthejuicerwhenoneofthoselonged-forlightningboltsofinspirationstruck.Ourmealwaspostponed.Whatoncewasbreakfastwastransformedintostilllife.Withcamerainhandwedraggedeverythingoutsideintothebrilliantmorning

Withcamerainhandwedraggedeverythingoutsideintothebrilliantmorningsun.Thusbathedinlight,thejuicerturnedmagical.Threeofmybestwatercolorscamefromthisshoot.Light,color,design—kismet.Afortunatemorning!

Makin’OJ|FrankSpino24”×18”(61cm×46cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

SunshineOrangesThisisadynamic,high-keyedwatercolor.Lightcascadesovertoptheorangespheresandseemstosetthemrollingacrossthepage.Iwasexcitedbythewaythecrispmorningsunlightfell,fromlefttoright,boldlyonthefirstorange,obliquelyonthenext,withthelastcastinshadowandlitfromwithinbylighttransmittedthroughthefruititself.Iwasintriguedbyandchallengedtocapture

transmittedthroughthefruititself.Iwasintriguedbyandchallengedtocapturetheluminouscellularqualityofthejuicycutorangesandthentheirmottledrinds.Lighttraveled90millionmilesfromoursuntomyclusteroforangestocreatethatmomentintime.

4

WaterandBoats

HolyMorningatNasikGhat|PrafullB.Sawant18½”×30”(47cm×76cm)Watercoloron90-lb.(190gsm)cold-pressedArchesSincemycollegedaysIhavebeenattractedtotheGangaGhatinNashik,India,anareaoftemples,water,birds,touristsandalwaysmanypeople.Thisspecialplacehasremainedmyinspiration.Inmypaintings,connectingshapesismostimportant,followedbytonalvalue,thenfinallycolor.

LythamCocklers|GrahamBerry19”×27”(48cm×69cm)Transparentwatercoloron140-lb.(300gsm)roughArches

LeaveBitsofWhiteforSparkleAsunnySundayafternooninearlyNovember,thelastdayof“cockling”beforethecocklebedswouldbecloseduntilthespring.There’saspecialqualityoflightattheseaside,bouncingeverywhereoffthewetsandandreflectingfromthesmallpoolsofwater.Thenear-blindingsunlightstreamingfrombehindtheboatandtractor,contre-jour,createdverystrongshadows.IbeganwithaveryweakoverallwashofRawSiennabeingcarefultoleavethewhiteofthepaperforthehighlightonthesand.Whilethiswashwasstilldamp,IfloatedinCeruleanBlueandAlizarinintheskyarea.Whendry,Ipaintedtheboat,tractorandshadowswithacontinuouswashleavingsomewhiteofthepaperforallthelittlehighlightsthataddsparkletothepainting.Ifinishedoffthepaintingwithsomedry-brushworkintheforegroundtakingfulladvantageofthepaper’s

somedry-brushworkintheforegroundtakingfulladvantageofthepaper’stexture.

AftertheRain|KathyCollins22”×30”(56cm×76cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedFabrianoArtistico

SketchaSensationOurboatglidedwestoutofSkylineMarinaboundforDecaturIslandofftheWashingtoncoast,theairstillshimmeryafteranearlyafternoonrainshower.Gulls’criespiercedthethickatmosphere.LookingaheadIwasstruckbythedarklandformssilhouettedagainstthefadinglightandquicklypennedasketch.Laterinthestudio,splashingwatercolorontopaper,Irecalledthesensationsandtriedtore-createthatmoody,luminousscene.

4CanoesatKanuga|JamesScottMorrison20”×29”(51cm×74cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

ColorAddsLivelinessItookanumberofphotosofthisscenenearnoon,notgenerallyagoodtimetotakepicturesforapainting.Butitprovedtobebeneficialbecauseithighlighteddetailsthatwereimportanttothepainting,suchasoarlocks,cablesfasteningthecanoestothedockandtheseatingdetail.Theoriginalcolorsweredull—mostlyarustedgray.Backinmystudio,Iwantedtoaddsomelifetothepainting,sofortheinsideoftheboatsIusedthethreeprimariesplusgreen.

Floaters|KrisParins21”×29”(53cm×74cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

PouredWashesCanSimulateTranslucencyThestrongdesignpossibilitiesfirstattractedmetotheclusterofcanoes.Theyprovidedtheperfectwaytotellthestoryoftheradiantlysunlitday,withthecomplementarycolorscontributinginterestandvibrancy.Iwasstruckbythewaythesunlightpiercedthewaterandmadetheboatsappeartranslucent.Inordertoachievelargeglowingwasheswithsubtlegradations,Iliquefiedpurepigments(QuinacridoneGold,AntwerpBlue,BrownMadderandFrenchUltramarineBlue)andpouredthemseparatelyontowetpaper.Whitesweresavedwithmaskingfluid.Subsequentmaskingandpouringbuiltupadepthofcolorandgranulatedtexture.TheZpatternofthecompositioncausestheeyeto

colorandgranulatedtexture.TheZpatternofthecompositioncausestheeyetoglidebackandforth,imitatingtheshiftingofthecanoesinthewater.

RedwoodCreek|StuartGivot22”×15”(56cm×38cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedTwinrocker

KeepYourHeadWhenAccidentsHappenMyreferencewasa1901photographofRedwoodCity,California.Todayifyouweretostandonthespotfromwherethephotographwastaken,thecreekwouldbecoveredandyouwouldbelookingatathree-storyparkingstructurefromthemiddleofasix-lanethoroughfare.Idrew(freehand)fromthephotographontomywatercolorpaper.Imaskedoutthelightsandwhites…andthendisaster.Ispilledaboutahalfbottleofmaskingfluidovertheforegroundboatandwater.ButIkeptmyhead,letitdryandremovedit.Afterredrawingsomeareasthatthemaskingfluidremoved,Iappliedthebackgroundwashoverthewholesheet.

themaskingfluidremoved,Iappliedthebackgroundwashoverthewholesheet.Ipaintedtheskyandwateratthesametime,withaunifyingwashbeforeaddingthedetails.

Hint:Maskingfluidwillnotcomeoutofkhakipants.—StuartGivot

DordogneRiverValleyView|FrankEber14”×20”(36cm×51cm)Transparentwatercoloron140-lb.(300gsm)roughArches

RobustSouthernFrenchLightThisisavalue-basedpainting;myaimwastocapturethehazysunlightintheDordogne.Iusedtwotransparentwatercolorwashes.SouthernFrenchlightcanberobustandlively,andthispaintingdependedonthewhiteofthepapershiningthroughunderneath.

MirrorofSky|PrafullB.Sawant18½”×30”(47cm×76cm)Transparentwatercoloron90-lb.(190gsm)cold-pressedArches

GraySkyforMysticalFeelNashik.GangaGhat.ItwasearlymorningandIwassittingonthebankoftheriverGodavarithatflowsthroughNashik,apilgrimagecityandmybirthplace.Ilookedatthevaluesandassessed:Whereisthewhite?Whereisthelight?IputdowninitialwashesofYellowOchreandCobaltBlue,keepingagraytintintheskytoexpresstheearlymorningandtogivethepaintingamysticalfeel.Toneiskingandcoloramereassistant.Connectingshapesismostimportant.WithaflatbrushIpaintedtheforegroundwavesusingriverwatertogivethepaintinglocallife.IntheoverallgraycolorschemeIaddedtheorangeflagandsomeothertouchesoforangetoaddahintofaHinduthemetothecomposition.

AncientWaterway|PengCao22”×30”(56cm×76cm)Transparentwatercolor

MistyWatersintheOrientalVeniceThisworkwasinspiredbymyhometown,Suzhou,knownasthe“Paradise”inancientChina.Itisalsoregardedasthe“OrientalVenice”whereboatsbobalongwaterwaysinterwovenwithsmallyethandsomebridgesthatrunparalleltothestreets,andtraditionalhousesbuiltalongthem.Icombinedbothwet-in-wetanddry-brushtechniquestocapturethemistfloatingonthewaterandthewavescausedbytheboatsintheearlymorning.Icompletedthepaintingquickly,knowingthatthemistwouldsoondisappear,asevidencedbythereflectionofthesunlightonthewallsofthehousesalongthebanks.Themutedcolorsarereminiscentofthethousandsofyearsofhistorybehindthisscene.

DardanellesLake|RichardEavesWoods15”×22”(38cm×56cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

KeepReflectionsaBitDampforSoftnessEarlymorningsunlightjustgrazesthefaceofthebiggranitecliffthatloomsoverDardanellesLakeinTahoeBasin,California.Thereflectionwasalmostmirrorperfect,sothiswasaneffortwheretimingwaseverything.Successwasallaboutthosetransparentwashes.Thereflectionshadtobekeptjusttheslightestbitmoredamptolettheedgessoften.Thecliffisdeadflat;theonlydepthcomesfromtheillusionofthereflectedcounterimage.Iusedawet-mounttechniquetoholdthepaperdownforthefirstpass,soakingthepapersothatitwouldsuckdownflattoawaterproofsupport,thenusedamistertokeepthereflectionareadamp.

Rookiemistake#1:Isoakedthefirstsheetofpapertoolongandwashedoutthesizing.Itwaslikepaintingonasponge.—RichardEavesWoods

BeaufortMarsh|NancyWalnes11½”×15¾”(29cm×40cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

BackflowcanWorkinYourFavorWhilevisitingBeaufort,SouthCarolina,Icameuponthistranquil,timelessscenewithsoft,rich-coloredgrasses,andglassy,litwaterthatwoundaroundtoanunknowndestination.Backinmyhomestudio,IusedalimitedpaletteofUltramarineBlue,BurntSienna,QuinacridoneGoldandPermanentAlizarinCrimsonwithawet-into-wettechnique.Paintingquicklyandloosely,Ilaidinapalebluewashbeforelettingthecolorsofthetreesandmarshesmingletogether.Ithendraggedsomeofthepaintdowntoindicatereflections,wentbackinwithdarkswherelandandwatermeet,andsplatteredfortexture.Whenthepaperwasalmostdry,Iscrapedoutsomeofthetallgrasseswithasculptingtool.Inareasstillwet,therewasabackflowofpaintthatworkedinmyfavor.

tool.Inareasstillwet,therewasabackflowofpaintthatworkedinmyfavor.

Theflowofthemediumandblendingofcoloronthepaperallowsafreedomofhandandsimplicityofexpression.—NancyWalnes

Kayaks|HughF.Baker67”×56”(170cm×142cm)Watercoloronhandmadewatercolorpaper

RocksBecomeBoatsIamalwaystakingphotosforresearch.IranacrossafewshotsoftheGrandCanyonanddecidedtousetherockshapesformycomposition.AnafterthoughtwastoaddthetitleKayakstogivetherocksasenseofdimension(andabitofhumor).Istartedwithseveralcomprehensivesketchestodecideonacomposition,thensetupalarge,handmade,verythickwatercolorpaperfrom

Spain(6’×6’[2m×2m]).Afterdrawingthebasiccomposition,Ipaintedverylooselargeshapesasunderpainting.Atthispoint,contrastoflight,shadowsandcolorwereessential.Islowlyenhancedthecolorforcorrectvalues.Ittookoneweektocomplete.

AfternoonStroll|DavidL.Stickel15”×23”(38cm×58cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

LinesofFoamandWavesI’vealwaysbeenfascinatedwiththemajestyoftheoceanandwiththefoamthesurfkicksupandleavesbehindasitretreatsbacktoitssourceofthenever-endingwaves.TheexpanseofthepieratOceanIsleBeach,NorthCarolina,especiallycaptivatedmyattention.Thentheeyetransversestothelinesofthefoamandwaves,crisscrossing,ultimatelyfindingtheirwaytothelightofthesun.Liningupaseriesofoverlappingreferencephotos,Ifeltagainthesensationofstandinginthesurf,gazingatinexpressiblebeauty.

5

NotSoWildLife

Sinatra|KaySmith15”×22”(38cm×56cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaperThiscat’sSinatrablueeyesbeckonedmeintoanunusualstore.SpecialEffectsisthestore’sname,andelegantreflectionsfromantiquecrystalglasswareandlampsbouncedlightinto(andoutof)thisrescuecat’swhitefur.Theluminositywasconveyedbyworkingdarktolight,wet-on-dry,withoutanymasking.

MilkGoatsofSannenland|LindaErfle17”×22”(43cm×56cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

AnInitialYellowWashCreatesRadiantLightTheradiantlightandtheexpressionsoftheanimalsgrazinginpristinepasturesnearasmallvillageintheSwissAlpswascaptivating.Thesubjectsseemedtoglowasclear,brightsunlightstruckthemandtheirsurroundingscausingcolortoreflectbackontotheanimals.ThepaintingswerecompletedinmystudiofromphotosIhadtaken,andthenrearrangedtosuitmycompositions.Beginningwithpaperthatwaswetonbothsidesandalargebrush,Iappliedapaleyellowwashthatwouldglowthroughsubsequentlayersofpaintandhelptocapturethe

thatwouldglowthroughsubsequentlayersofpaintandhelptocapturetheessenceofsunlight.Asthepaperdriedtodamp,Icontinuedon,indicatinggeneralshapesandusingincreasinglydarkerpigmenttodefinethem.

SwissCow|LindaErfle28”×20”(71cm×51cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

ThreeHorses|BrendaCretney18”×23”(46cm×58cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

DarkerDarksMakeLighterLightsThethreehorsesinthispictureliveatmyfriend’sfarm.ThephotosIusedweretakenonadaywhenthesunwasespeciallystronginthebackpasture,floodingitinabeautifulsunnyyellow.Tomakethelightinthepaintinglighter,Iusedthecontrastofdarkerdarks.AtthetimeIdidthispainting,thehorseinthemiddle,P.C.,hadnoideahewasoverthirtyyearsold.Oldhorsesenjoyeatinggoodgrassjustasmuchasyoungones.

TheFarm|Wen-CongWang20”×28”(51cm×71cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

CombinationofWarmandCoolCreatesRichnessInthenorthwestofChinaneartheborder,thereisasmall,beautifulvillage.ItissaidthatthelocalsarethedescendantsofGenghisKhan.Followingthenomadictraditions,theyfollowtheirlivestocktofreshnewpasturesinsummersandcomebackduringharshwinters.Inthefalltheever-changinglightandcoloralwaystakemybreathaway.Atduskthecolorsofthesettingsunarefloodingin,paintingthecattleandpinewoodcabinsabrightgoldandtransformingthevillageintoasparklingfairyland.Mychoicesofyellowsandpurplessuggestacomplementarycolorschemealongwithmanycolorful

neutralstobalancethecontrast.Thecombinationofwarmandcoolcreatesaricherandmoreluminousfeelingofrays.Tomakethemostofthefluidityofthepigmentsandwater,Istretchedthepaperandstraighteneduptheboardtoacquiretheeffectonthebackground.

MorningGlow|JeanKalin18½”×21”(47cm×53cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

ClassicMunsellSystemforColorSchemeThewhiteofthepaperisthelightintransparentwatercolor.Outsidesunlightfallingonmycatwasaspecialmomenttophotograph.Whilepainting,thebackgroundwaskeptsofttocontrastwithhistexturedcoat,whilethequiltwasaddedtobringincolor.FortwentyyearsIhaveusedtheMunsellsystemformyanalogouscolorschemes.Herethedominantcolorisblue-greenwithblueandgreenadjacentcolors.Redisthecomplementwithgoldandmagentadiscords.

Wet-into-wetunderpaintingisperfectforsofthair.Icarefullyaddedlayersofcolorandthequiltdesigns.Thefinaltouchesaredrybrushedwithwhiskersscratchedoutwithirregularedgestoshowsunsparkle.

Corbi|SusanCrouch6¼”×8½”(16cm×22cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

MaskingHelpsCaptureBacklightingCorbiismythirteenyearoldgoldengirl.She’swithmeinthestudioeachday,lyingonthefloorwithherropeortennisballnearby.Thiswatercolorwaspaintedfrommyphotowiththehopeofcapturinghergentlespirit.Ilovedthebacklightanddecidedtoaccentuateitbypreservingthewhitesagainstavarietyofvalues.Aftermaskingtheouterportionofherhead,thebackgroundwasfloatedinandthendriedbeforepaintingtheforeground.ThroughoutthepaintingIfocusedonlinkingsimilarvaluesforvisualpassage.Colorswerechosenwithcontrastinmind,playingtheblue-greenbackgroundagainstherreddishbrowncoat.

Loseedgesandlinksimilarvaluestofindavisualpathwaythroughyourpainting.—SusanCrouch

BigBabyBeef|ChristopherLeeper14”×21”(36cm×53cm)Transparentwatercolorwithgouacheaccentson140-lb.(300gsm)cold-pressedArches

BatchShapesofSimilarColorTemperatureThispaintingwasdonefromaphototakenatacountyfair.Itwasinspiredbythecombinationofrimlightingandreflectivesurfaces.Althoughthereareinterestingcolorspresent,itisreallyapaintingdesignedaroundtheinterestingshapesandvaluecontrastscreatedbythelightingconditions.Ilookedforshapesofsimilarvalueandtemperatureandpaintedthematthesametime,forexample,theroofshadowsandtreesinthebackgroundandthedarkshapesonthecattle.Thetitlewassuggestedbymywifeasajoke.I’mnotsurewhatitmeans,butitjustseemedtofit.

means,butitjustseemedtofit.

Meana|RossLynem19”×13”(48cm×33cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

LocalArtProvesanInspirationWhiletravelinginHollandIcameacrossthemostamazingpaintingsofcows.Thesequirky,whimsicalcreaturessoonbecamemyobsessioninaseriesofpaintings.TheglowinglightandthelookofsurpriseonMeana,ownedbyHettieKoensoftheNetherlands,wonmeover.Ichoseananalogouspaletteofbluethroughpurplewithpinkaccents.Ibeganwithhereyesandthenslightlyexaggeratedherhumorousexpression.Finally,toaddimpact,Ichosecolorcomplementsfortheglowingbackground.InamedMeanaaftermymother-in-lawbecausetheyarebothsolovely.

Whilepainting,paycloseattentiontotheweesmallvoicewithin.Ithasnotfailedmeyet.—RossLynem

BlueRaven|FahmiKhan7”×10”(18cm×25cm)Watercoloronpaper

TechniqueMergesWithSymbolismThiswatercolorwasademonstrationsessionfrommemory.Theideawastouseonebrush(flat)andtwocolors(blueandverylittleblack).Emphasiswasgiventofreedomofmovementandhowtocontrolvalueinquickgesturalstrokes.Darkandlightvalueswerecontrolledthroughlayeringandtheratioofpigmenttowater.Thispaintingalsorepresentslightanddarkonasymboliclevel.InNativeAmericanculturetheravenisasymbolofbothlight(helperofhumanity)anddark(thesometimeseviltrickster),thusmychoiceofthisbirdtorepresentthecurrenttheme.

Papillon|MichelleGollSmith6”×6”(15cm×15cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

GlazingProducesDarkFurThewarm,summersunwasshiningthroughthewindowandlightingmylittlePapillon’sfurinsuchawaythatheseemedtoglow.Quickly,Isnappedseveralphotostocapturethefleetingmoment.UsingQuinacridoneGold,PermanentRose,BurntSiennaandFrenchUltramarineBlue,Ididanunderpaintingforthe

blackfur.Overthat,IappliedseveralglazesofBurntSiennamixedwithFrenchUltramarineBlueandliftedsomeofitoffwhereIwantedhighlights.Abitofmaskingfluidwasusedwherethesunwasilluminatinghisfurandwhiskers.

Go|WilliamRogers11”×15”(28cm×38cm)Transparentwatercolorwithgouacheaccentson140-lb.(300gsm)roughpaper

CaptureActionFromVideoReferenceGoisfromaseriesdoneinthestudiousingvideoanddigitalreferenceIshotfromthestartinggateatthelocalracetrack.Ihaveatwenty-yearpersonalhistoryofracinghorses—asourceofintimatevisualexperience.Initialstudiesinpencil,charcoalandwatercolorgavemeafeelingfortheactionandmovementduringthemid-afternoonlight.UsingmyDVDplayersetateyelevelnexttomyeaselhelpedmetoseeandcapturethelightandatmosphereoftheevent.Iusedtransparentwatercolorondrypaper,allowingthecolortohave

moreintensity,softeningedgeswhereneeded.ForfinishingtouchesIaddedsplashesofgouacheandfinalaccentsandhighlights.

HarpyEagle|SoonYoungWarren22”×30”(56cm×76cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

SimpleColorSchemeforaGrandCreatureAzoovisitbecameaspecialeventwhenIsawthismajesticblackandwhitebird.Itssilhouettehighagainstthesunlightgrabbedmyattention—aharpyeagle.Shedisappearedintothedarkdensetree,butwhenherheaddresscaughtthesunlight,theawesomesightmademyheartsoar.Withoutthelight,itwasanordinaryblackandwhitebird,butwithlighthittingthefeathers,theeagle’sbrilliantdefinitionboastedofitsgrandpresence.Ifrequentedthezoooftentocapturetheperfectimage.Topainttheeagle’sgrandeur,Ikeptthecolorscheme

simple.Afterapplyingmaskingfluidonlighterfeathersandthehighlightsoftheeye,Iappliedmanyglazesofcolor,amixtureofredandblueforthehead,addingmorebluetoitsbodytofinishthepainting.

6

OurDesignsandDevices

GoingGreen|DaveMaxwell21”×29”(53cm×74cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArchesAnancientEnglishmotorcarwithchromesurfacesreflectsmiddaysunlightfromasurroundingenclosureofbuildings,providingshapesforwhimsicalabstractdesigns.Whoknewrealismcouldbesuchfun?IwasshockedtolearnthatthisspaciouslimousinewasbuiltbyTriumph,knownforjauntytwo-seatroadsters.

AbsolutionV|JoyceStratton48”×36”(122cm×91cm)Acrylicandcollageonwoodpanel

HowDoYouPaintaConcept?Thispaintingwasdoneinmystudio,focusingonthewordabsolutiontodirectthetoneandfeelingIwantedtoconvey.Absolutionmeansforgiveness,

representedinmypaintingwithmanythinglazesofcreamandblue,givingitalight,airyquality.IusedamixtureofPrussianBlue,MagentaandTitaniumwithalittleAzoGold.Ifinishedwithcollagedmulberrypaperwiththeadditionofprintedwords,symbolsandlineelementsofcharcoalandgraphite.

Metaphor#6|ElizabethM.Hamlin15”×11”(38cm×28cm)Transparentwatercoloronhot-pressedpaper

BrokenGlassBringsNewIdeasAboutthreeyearsagoIstartedexploringtheintricaciesofpaintingglassusingcoloredbottles.Thenamajorcrisisoccurredinmylife,andIhadtodosomethingdifferent.SoIbrokethebottlesintopiecesandlookedforanewbackgroundandsurface.Oneearlymorning,thetableinfrontofmystudiowindowcaughtthelowwintersunshiningthroughtheshards.Thiscastlong,

windowcaughtthelowwintersunshiningthroughtheshards.Thiscastlong,colorfulshadows,creatingtwosetsofabstractshapes.Alittlerearrangementtobetterintegratetheglassandshadowshapes—andanewtransparentserieswasborn.

Konbanwa|JudyWelsh22”×30”(56cm×76cm)Watercolorandwatermediaon300-lb.(640gsm)cold-pressedpaper

RepetitionLeadstoInventionThispaintingisbasedonitemsIhavecollectedfrommytravelstoJapan.Konbanwa(“goodevening”)expressesthelight,color,patternsandtexturesofobjectspaintedoverandoveragain.Repetitionhelpsmesubduemycontrolissuesandallowsforinventiveness.Ukiyo-e,theJapanesewoodblockprint,wasnewtoseventeenthcenturyJapan,anditimpactedartistsinternationally.Itparticularlyinspiresme.ThesubjectmatterwaspredominantlyimagesoftheKabukitheaterandthegeisha.Theboldshapes,stronglines,traditionalsubjectmatterandsplashesofintensecoloraretheveryqualitiesIincorporatedintoKonbanwa.

Recycle|LaVonneTarboxCrone30”×22”(76cm×56cm)Transparentwatercolorwithgouacheaccentson300-lb.(640gsm)hot-pressedArches

ColorExpressesStrongEmotionsThispaintingevolvedfromaphotoofmylateson’smountainbike.Iinitiallyleftthebackgroundwhite.Aftermuchcontemplation,Iusedshadesofredbecauseoftheloadedemotionsaroundthebikeandthefactthatmysonwaskilledinanaccident.Layeringtheredtoemphasizehowdarkitcanget,Iwanteditto

accident.Layeringtheredtoemphasizehowdarkitcanget,Iwantedittoappearwetanddripping.Transparentwatercolorwasthemagicthatmadetheyellowjockeywheelappeartoglow.Gouachecameintoplaytocleanupdetailsandaddintensity.Strivingtotakethevaluesfrompurewhitetoblackseemedtofitthisimageofthebikemysonbuilt.

TheSecretoftheOldClock|SuePink22”×15”(56cm×38cm)Transparentwatercolorwithopaqueaccentson140-lb.(300gsm)hot-pressedpaper

AllowYourRightBraintoBeginaPaintingDuringthequiethoursoftheevening,Irandomlychoosepaintsandallowtherightsideofmybraintoexperimentwithcolorandtexture.Whencolorsintermingleanddrip,Iforceadditionalmovementbyliftingandturningthe

paperorbymisting.Whenanimagebeginstoemerge,Istarttoconsiderthecomposition.ThelightvaluesbecomemoreintenseasIcreatedarkvalues.I’vepaintedmyriadclocksovertheyears,soItendto“find”clocksinmanyofmypaintingsduringthisstageofdevelopment.ThispaintingwasinfluencedbyaseriesofbooksIreadinmyteenageyearsbyCarolynKeene,specificallyTheSecretoftheOldClock.

CosmicDancer|CristinaDelSol25”×19”(64cm×48cm)Transparentwatercolor,acrylicinkswithcollagedaccentsonheavyYupo

ExperimentWithTexturalUnderpaintingIlovethecreativeprocess.Experimentingwithtexturalunderpaintingsinwhitegesso,aflowinggodlikefigureemerged.Glazesofgoldenandblue-greenwatercolorsestablishedtemperaturecontrast,impartingaspiritualqualityasthegessoshinedthrough.Addinglighteranddarkershapeswithinincreasedvaluecontrastandcreatedtheillusionoflightfilteringthroughthefigure.Toreinforcethecenterofinterest,twogeometricalshapesinopaqueturquoiseandorangeacrylicinkswerecollaged.Theseopaqueswererepeatedelsewhereforunity.Finallylineworkwasadded.

unity.Finallylineworkwasadded.

Itriedtosymbolizeuniversalenergy,wherelightisthedestinationanddarkthemystery.—CristinaDelSol

Steam’ntheRoundhouse|CharleneGerrish34”×27”(86cm×69cm)Transparentwatercolor

SunlightTransformsDullBlackIronMyhusbandandIwereinPortland,Oregon,to“chase”andphotographthe700(circa1935)ononeofherfinalrunsfromthesoon-to-be-demolishedBrooklynRoundhouse.Wegotthereasthesteamstartedspewingfromthemassiveblackenginenicknamed“TheLady.”Early-morningsunlightpouredthroughtheantiqueclearstorywindowsasthe700poweredup.Dullblackironwastransformedtoshadesofpurplesandblueswhilethesunlightilluminated

wastransformedtoshadesofpurplesandblueswhilethesunlightilluminatedonesideoftheengine.Istartedbyleavingsectionsofthepaperwhite,andworkingwet-on-wetfromlighttodark.Nomaskingorwhitepaintwasused.Beforethetrainhadevenbackedoutoftheroundhouse,IknewthatIwouldbedesperatetocaptureandsharethismomentinwatercolor.

ChaosofCommitment|CathyHegman22”×29”(56cm×74cm)Transparentwatercolorwithinkandwatercolorpencilaccentsonsyntheticpaper

ChaoticLineWorkExpressesConceptThisisapaintingaboutthepressuresandchaosofthecommitmentswefaceinourlives.Itemperedmywatercolorpaintswithpowderedgraphiteandpowderedcharcoaltogivethemagrainyeffect.IusedIndiainkandwatercolorpencilsasaccents,reinforcingmyconceptwiththeuseofchaoticlinework.Iwantedtogivethepaintingasomewhatdirtyappearanceinordertomakethemorecolorfulfiguresthecenterofattention.Iworkedwithasomewhatlimitedpaletteandemployedveryhighcontrastinthevaluestoachieveastrongresult.

GawkersSlowdown|DougMeythaler14½”×20½”(37cm×52cm)Watercoloron140-lb.(300gsm)cold-pressedpaper

TheGlowofColorandLightCarshowsareawonderfulplaceformetobeinspired.Thewell-polishedcarsglowwithcolorandreflectedlight.Takinglotsofpictures,Itrytoshowthesubjectfromanunusualvantagepoint.ForthisshotIclimbedupthebaseofalamppost.BackinmystudioIdoastudysketch,oftenmovingthingsaroundtoworkoutthebestcomposition.Afterit’sdrawnoutonwatercolorpaper,Islowlystartbuildingupglazes.ImakesureItakespecialcaretopreservemywhitesbycarefullyworkingaroundthem.

Show’sOver|LorraineWatry19”×13”(48cm×33cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

LightPlayedtheBandInstrumentsChaperoningformyson’shighschoolmarchingband,Istartedtakingpicturesofalltheinstruments,repletewithbrilliantreflectionsfromtheafternoonlightcomingoffthefield.Iwasexcitedtofindthegreen-goldreflectionsinthetubaandhelmetinthisotherwiselimitedcolorpalette.Aftercombiningtwophotos,Ididaverydetaileddrawing,maskedareastoprotectthemandusedavarietyofgrays.MyfavoritegraywasamixtureofCobaltBlue,PermanentRoseandAureolinYellow.NowIamanavidfanofpaintingmetalandofmarchingbands.

AureolinYellow.NowIamanavidfanofpaintingmetalandofmarchingbands.

Topaintrealisticmetalyoumustfirstbecomeanabstractionist.—LorraineWatry

7

LandscapeView

OceanandAhern|RobertLeedy19”×28”(48cm×71cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArchesCountlesstimes,Ipassedthissceneinthesmall,beachsidecommunityofAtlanticBeach,Florida,whetherridingmybikeorwalkingthedogs.Onemorningafteranearlyrainshower,therisingsuncreatedrich,warmbacklightingbalancedbyacoolforeground.Afteraninitialwashofyellowinthesky,amixtureofCeruleanBluecreatesadominant,unifyingmarkacrossthepaper.

Rainforest.TheTreeonTop|HeleenCornet34”×44”(86cm×112cm)Transparentwatercoloroncanvas

WatercolorforWetRainforestIliveonthesmallislandofSabaintheCaribbeanSea,withitsmagicalmossyrainforestatitstop.Surroundedbythesoundsofbirds,drippingwaterandwind,Icanpaintthewholeday.Itismuddy,oftencoldandverywet,butthelightandcolorsareamazing.ThispaintingisbasedonstudiesImadeonthetopofthemountain.Thewatercolorsfloatandworkforthemselves.Sincerainforestsandwatercolorsarebasedonthesameelement—water—thereisaperfectmatch.

AWalkintheWoods|CatherineHearding25”×21”(64cm×53cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

PulledBranchesWithColorThecontrastoflightandshadowonthesnowwastheinspirationforthispieceasItookawalkwithmycameratocapturethedetails.Theforegroundshadows

asItookawalkwithmycameratocapturethedetails.Theforegroundshadowswerepouredusingthreecolors(CobaltBlue,WinsorRedandWinsorBlue).Tocreatethebranches,Idropapoolofcolorontothepaperanddragthewaterycoloroutwiththetipofapaletteknifeintobranchshapes.Whilethepoolsarestillverywet,Idropothercolorsintothemandletthecolorsmixfreely.

Haukeli3|OddvarWold19”×13”(48cm×33cm)Transparentwatercoloron300-lb.(640gsm)roughpaper

PatientLayeringforBrilliantFallColorsThiswatercolorisoneofseveralIpaintedinmystudioafteratriptothemountainsinOctober.Thewholemountainwasinbrilliantfallcolorswithalittlemistoverthetop.ThisscenegavemewhatIlikebest:light,color,scaleandespeciallydrama.Usingwet-into-wetandwet-on-drytechniques,Iputon

andespeciallydrama.Usingwet-into-wetandwet-on-drytechniques,Iputonlayerafterlayertobuildupthelight,color,shadowandcontrast.ThepictureshowsoneoftheoldhotelsinthemountainsbetweenwesternandeasternNorway.Thehotelisnolongerinservice.

TaosShadows2|MarkE.Mehaffey21”×29”(53cm×74cm)Transparentwatercoloron300-lb.(640gsm)roughArches

Don’tbeAfraidtoPushYourColorsMywife,Rosie,andIwerevacationingwithfriends,andthedaywevisitedtheTaosPuebloitwastotallycloudy.Icouldseethepotentialfordramaticshadows,buttheyjustwerenotthere.Thenextmorningwasbrightandsunny,andImadethewholegrouptakemebacktothePueblo.IspenttwohoursgettingthereferencephotosIneeded.However,whenIviewedthem,thestrongNewMexicosunhadbleachedoutthewarmcoloroftheadobe.SobackinmystudioItookthelibertyto“push”boththelightanddarkcontrastandthesaturationofthecolor.

Reckoning|JonathanFrank19”×27”(48cm×69cm)WatercolorandIndiainkon140-lb.(300gsm)cold-pressedArches

PaintingtheSmellofaStormThispaintingwasbornthemomentIsteppedtotheedgeofthisawesomecliffinCanyonlandsNationalPark,Utah,andsmelledthethunderstorminthedistance.Mychallengewastocreateanatmospherewiththehighestsenseofdramaandemotion.Deepeningthecolorsinthedistanceitfocusesthelightontheforeground—thehereandnow.Iparticularlylikethenotionthatonedoesn’tknowifthestormiscomingorgoing.

BlueWinterMorning|SachinNaik20”×15”(51cm×38cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

AccurateDrawingisFoundationofColorBlueWinterMorningwaspaintedonlocationontheuniversitycampusofmycity,Pune.Thislandscapewasmostlypaintedwithawet-into-wetmethodandafewsimplewashesafterdoinganaccuratedrawingon-site.Adetailstudysketchwasdonebeforebeginningworkingwithcolor.Thismonochromaticlandscapehadaveryinterestingglowinglightonthewallswithawonderful,coolbluefeeleverywhereduetothecoldseason.Nomaskingoropaquewhitewasused.

Ihavefoundthewet-into-wetmethodwithfreeflowstobethebestmethodforwatercolor.—SachinNaik

SunStrokes&RainFall|JeanK.Gill22”×30”(56cm×76cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

VerticalPaintingEncouragesDirectionalEnergyMypaintingsincorporateabstractionsderivedfromsimplificationsorexaggerationsofmyphotographs.Workingwithmypaperverticalallowsgravity,withsomemisting,tofacilitatedownwardflow.Thisfluidprocessencouragesgranulation,spontaneousmixingandsoftedges,andIretainthedirectionalityandenergyofmovingpaintinthefinishedwork.Iplancolorsinadvancebutleaveopportunitiesforimprovisation,astrategywithoptions.Toinfusethisworkwithcontrastanddrama,Iimaginedandoveremphasizedtheimpactofasunshower,wettingandintensifyingautumnalcolor.Ienhanced

impactofasunshower,wettingandintensifyingautumnalcolor.Ienhancedbacklighting,inventingsunbeamsbyliftingthemfromdrypaint.

AbovetheFirmament|ManetteW.Fairmont22”×22”(56cm×56cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

PrimitiveShapesCombineWithLuminousLightMysubjectistheprimitivelandscapeshapesandMexicanarchitecturedistinctivetotheSonomaValley.Anawarenessofabstractdesignthroughconceptualideaspermeatesmywork.Iveryoftenpaintoutdoorstocapturemy

conceptualideaspermeatesmywork.Iveryoftenpaintoutdoorstocapturemyemotionalresponsetothevividcolorandluminouslight.Tothisend,Iwillglazetransparentcoloroveropaquecolorfordepth,orplacemuddycolorsnexttoclearwashesofpuretransparentpainttocreatethevibrancyofcontrast.IaminspiredbyMexicanfolkartandtheworkofHockney.Itismycreativedesiretobringanewdynamismtofolkart,anotherwaytoappreciatelightandcolor.

RootsandStems|JanetNunn21”×29”(53cm×74cm)Watercoloron300-lb.(640gsm)cold-pressedFabrianoArtistico

CapturetheBrilliantIntensityofFirstSnowAfootofsnow,ourfirstoftheseason.Thesunoutsidethewindowofmystudiowasmagnifyingthebrilliantwhiteofthesnowandcreatingashowcaseforcolor.Mychallengewastocapturethisfeelingofintenselight,shadowandcolorinasimpleandnaturalway.Focusingfirstontheoranges,yellowsandreds,ImovedthepaintwithastrawcutlikeabrushtoemulatethethinlinesofthestemsandaddedtherootswithadarkerCobaltViolet.Withtherootsinplace,Ipaintedthestarkstalksoftheaspentreesandbroughtmorerealismtothepainting.Thefinishingtouchwastheadditionoftheblueshadow,mimicking

thepainting.Thefinishingtouchwastheadditionoftheblueshadow,mimickingtherootsandstemsandprovidingbalance.

Agreatpaintingismoreoftentheresultofanenjoyablejourneythanaplannedprocess.—JanetNunn

TahoeRocks|MingFranz28”×22”(71cm×56cm)Splashinkwithwatercoloronricepaper

ChineseSplashInkWithWatercolorTheinspirationforthispaintingcamefromfrequentfamilyvacationstoSouthLakeTahoe,California,whereourkidswouldclimbtherocks.IstartedwithanancientChinesemethodcalled“splashinkwithwatercolor.”IsplashedAsianblackinkonafewsheetsofricepaper,followedwithprimarywatercolors:blue,redandyellowinsequence.Theinkandwatercolorsmerged.Whenthesheetsweredry,anabstractformwasrevealed.Ipickedmyfavoritesheetandlookedatitturnedallfourways,lettingthecolorspeaktome.Thisdriedsheetwasvery

atitturnedallfourways,lettingthecolorspeaktome.Thisdriedsheetwasverydark,soIusedapaletteknifetoapplyopaquewhitewatercolorontheleftsideofthedarkareastocreaterockswiththelightcomingfromtheleftside.IthenaddedthetreesandotherdetailsusingconventionalwatercolorandChinesebrushpaintingtechniques.

BlueTaxis–Japan|NancyFortunato8”×12”(20cm×30cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

StretchPaperforGlazingJapanesecabsignsaresoimaginativeandveryeye-catching.AtnightthestreetsofKyotoarepurecascadesofcolorfullights.Myvividmemoriesofourtravels,alongwithmyphotographs,helpedincapturingtheexcitingcitylights.BlueTaxis–JapanhasmorethantwentyglazesofseveraldifferentbluesincludingPeacockBlueandPthaloBlue—andnotubeblackfortheintensedarks.Stretchingmypaperallowsmetoglazeovercolorwithouthavingtouseahairdryertokeepthepaperfrombuckling.Ididnotusemaskingfluidforwhites,butsimplypaintedaroundthelightareas.Iuseonlykolinskysablehairbrushestoapplyaglaze,asthehairofthebrushdoesnotlifttheundercolorasmostsyntheticbrushesdo.

ThePath|DeanShelton14”×11”(36cm×28cm)Transparentwatercoloron140-lb.(300gsm)Archespaper

LotsofSketchesandSeveralPaintingsLater…ThislighthouseislocatedontheOregoncoast.AsmywifeandIweredrivingupthecoasttovisitfamily,westoppedtospendthenight.Icouldseethelighthouse

thecoasttovisitfamily,westoppedtospendthenight.Icouldseethelighthouseastheeveningsunpokedthroughtheholesinthedarkclouds.Igrabbedmycameraandrantocapturethescene.Ilaterexperimentedwithcompositionandcolor.Ididalotofsketchesandseveralpaintingsofthelighthouseinbothwatercolorandoil.ThepathwasaddedlastusingaheavyconcentrationofCadmiumOrangeontopofthestill-wetdarkforeground.

8

PeopleinMotionandEmotion

TalesoftheNorthFork|SusanMontague15”×22”(38cm×56cm)Transparentwatercoloron300-lb.(640gsm)hot-pressedArchesAtaMountainManRendezvousinthefoothillsofDenver,Iwitnessedthispassionatestoryteller.Thelightwashighandstrong,castinginterestingshadowsacrosshisfaceandclothing.Workingfrommyblackandwhitephoto,Ichoseapaletteandtechniquestoaddtextureandacasualelement,mirroringthestyleandtimesofthecharacter.

Something’sBiting|MarieNatale11½”×18½”(29cm×47cm)Transparentwatercolor

PushColortoEnrichSkinTonesAfriendsharedthisphotoofhisgrandchildrenonabalmysummerday.Iwasinstantlydrawntothestrongcontrastsbetweenthesunlitskintonesontheboys,thecrispsunlitdockandthedeeprichfoliageinthebackground.Ipushedthecolor,enrichingskintones,brighteningtheswimsuitsandpunchingtheluminousred-orangeofthebucket.Ipaintedtheboysfirst,thenachievedthedarkbackgroundbyusingthick,richpigment.Icapturedthebrilliantafternoonlightbycarefullyholdingontoedgesofwhitesurroundingtheboys,thedockandtheirfishingpoles.

WhenteachingIencouragestudentstofollowtheadviceofvanGogh:Capturetheessence,leavetheobviousvague.—MarieNatale

WhichOne?|KeikoYasuoka15½”×22”(39cm×56cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

EffectofTwoLightSourcesDuringavisittomyparents’homeinJapan,Iwenttothesummerfestival,whichisalwaysverylively,colorfulandjubilant.Ihadmycamerainanticipationoffindingpaintingsubjects.Amongalltheactivity,Iwasattractedtoalittlegirltryingtodecidewhichballshewantedtoget.Iwasespeciallyfascinatedbythetwolightsources:directandindirect,butespeciallytheindirectlightreflectingontothelittlegirl.Inordertocreatethemood,harmonyandlightthatIdesired,Imainlyusedtwopairsofcomplementarycolors,yellowandvioletplusorangeandblue.

CaribbeanSpice|NancyNear21”×21”(53cm×53cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

SomeSubjectsCallforaNewApproachSomesubjectscryouttobepainted.ThiscrewmemberonourAntiguasnorkelcruisewasoneofthose.Iwantedtocaptureherjoyfulenergy,andIknewmyusualmethodswouldn’tdoherjustice,soItookanewapproach.Icreatedspaceforherpowerfulpersonalitybyusingafullsheetofpaper(afirstforme).Theradianceonhershirt,necklaceandfacecamefromaseriesofloose,intense

radianceonhershirt,necklaceandfacecamefromaseriesofloose,intensewasheswithmyfavoriteQuinacridoneandPhthalocolors.Ispenttimeonhercurlylocks,liftingoutlightstreakswithaMisterCleanMagicEraserandfinallysplatteredsizzlingCaribbeancolorswithabandon.Iemailedaphotoofthefinishedpaintingtomymodel,andshewasthrilled.

MyBrother’sKeeper|LaurieGoldstein-Warren30”×22”(76cm×56cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

LightInspiresaCitySceneIwasinMemphisonemorning,photographingthecityandthepeopleonthestreet.Isawthismancrossingtheparkinaverypurposefulway.Hethencrossedthestreetandslowedhispace.Justashereachedintothecitytrashcontainerandpulledsomefoodtohischest,thesuncameoutfrombehindthecloudsandItookthisphotograph.Thesunlightgaveaglowtohisunkemptcurlyhair.Iknewimmediatelythatthiswasanimagetopaint,astorytotell.

hair.Iknewimmediatelythatthiswasanimagetopaint,astorytotell.

Sometimesthebeautyoflightcanlastonlyaninstant…beready.—LaurieGoldstein-Warren

MysteryMan|r.mikenichols23”×17”(58cm×43cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

LetYourInnerChildSolveaPaintingProblem

Iwasattractedtothisimagebecauseofthelightreflectingofftheglasssurface.Butworkingfromaphotographthatrevealedacollageofconfusinginteriorandexteriorimagerywasachallenge.AsakidIadoredpaint-by-numberkits.PaintinginallthosesmallshapeswiththeircorrespondingcolorswasataskmybuddingVirgomindcraved.SincetheinformationinmyreferencephotoforMysteryManoftendidn’tmakesense,Icalledonmychildhoodexperience.Iplottedalltheshapes,colorsandvaluesontomypaper,verymuchlikecreatingmyownpaint-by-number!

Patience|VanessaCalicaBaladad9”×12”(23cm×30cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

CaptureUniqueEffectsWithaToyCameraLatelyIliketakingpictureswithmydigitaltoycamera(asopposedtomyexpensiveDSLR)becauseofitscharminmakingunpredictabledistortionstolightandcolor.InspiredbyJeanGrastorf’spouringtechnique,IusedthreeprimarycolorsplusBurntUmbertopaintthispictureofmyfiancéwaitinghisturninamartialartscompetition.Ashewaitedforalmosteighthoursthatday,Iwasluckytocapturethismomentofpatience.Thecamera’sdistortingeffectsmadetheornatecarpetingintoanalmostsurreallandscapeandbrightenedthebluepainter’stape.Idon’tthinkthesameeffectwouldhavebeenachievedifthe

bluepainter’stape.Idon’tthinkthesameeffectwouldhavebeenachievedifthephotohadbeentakenwithastandardcamera.

Remember|SusanMontague20”×15”(51cm×38cm)Transparentwatercoloron300-lb.(640gsm)hot-pressedArches

FindSpecialQualitiesinYourSubjectAttheMartinLutherKingJr.paradeindowntownDenver,thesunwashighandbrightontheenergeticcrowd.Thisyounggirlcaughtmyeyeassheseemed

brightontheenergeticcrowd.Thisyounggirlcaughtmyeyeassheseemedmoresomber,perhapsmoreinthetruespiritofthecelebration.Workingfrommyblackandwhitephotograph,Ichosetokeephercolorsfreshandyoung,yetwantingtocaptureherserious,distantexpression.

Meadow’sEdge|SusanMontague22”×22”(56cm×56cm)Transparentwatercoloron300-lb.(640gsm)hot-pressedArches

HandsExpressPersonalityTraitsThisyoungmanwaspartoftheMountainManRendezvousinthefoothillsofDenver.Iwasdrawntohisunusualbodylanguageashepacedthroughoutthemeadowbyhimself.Afterwatchinghim,Irealizedhewaspossiblyautistic.AtthecampsiteIcaughtthispicture.Hisdelicatehandsseemedtomirrorthesensitivityinhisface.Thestrong,highlightsuppliedbeautifulshadowsonhis

sensitivityinhisface.Thestrong,highlightsuppliedbeautifulshadowsonhisfaceandclothing,andIchosetokeephisfaceandhandspaletoportrayhisvulnerability.

CaliforniaGrandpa|LyndaA.N.Reyes29”×21”(74cm×53cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

ColorsCreateVisualDrama

CaliforniaGrandpawaspaintedinmystudioafterastudyofacrowdatanartfair.Ichosetransparentwatercolortocapturethevibrantlightandcolorinterplay.CadmiumOrangeandYellowevokecolorsofCaliforniapoppies.Theintenseorangeilluminatingtheman’sshirtandthewarmYellowOchreofthebags,setagainstthecoolhuesofthesurroundingfigures,wootheviewertopartakeofthevisualdrama.

AWalkonHistoricJackson|MarieNatale15”×22”(38cm×56cm)Transparentwatercolor

ApplyJuicyColorQuicklyandCleanlyWhilepaintingenpleinair,IturnedandwasstruckbythisclassicCapeMayscene.Aquickphotoreferenceandon-sitevaluestudy,thisscenecametolifelaterinmystudio.Theradiantlightofthisearlymorningscenecamealivebyfocusingonthestrongrelationshipbetweenthelightanddarks.Iachievedstrongcontrastscleanlyandquicklybyapplyingjuicy,richcolorontodry,unstretchedcold-pressedpaper.Withanuprighteaselandlargesablerounds,Iinvitedmycolortoblendandruntogether,achievingloose,luminousandcolorfulresults.Ilovethechallengeofholdingontocrispwhitesforasun-kissedeffectwithouttheuseofmaskingfluids.

SidewalkRaphael|KrisPreslan22”×16”(56cm×41cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedArches

BreatheintheArtisticAirofItalyFlorence,Italy:wheretheTuscanceruleanskymergeswiththeterracottacolors,thesiennasandumbersofthelocalearth.Amongthebackgroundoflight-heartedcarouselmusiconthePiazzadellaRepubblica,andthelaughing

light-heartedcarouselmusiconthePiazzadellaRepubblica,andthelaughingandshoutingofthepassers-by,thefootstepsslowtoastop,coinsdropintoabasket,aspeoplemarvelatthestudentartist’sre-creationoftheartoftheOldMasters,belovedforover500years.Thechalkartisadmiredandappreciated,thenlostwiththenextrain.Whataninspiration!

TheProfessor|DeborahSwan-McDonald13”×18”(33cm×46cm)Transparentwatercolorwithcharcoalpencilandricepapercollageon140-lb.(300gsm)cold-pressedpaper

LightingEchoesCharacterOneofmystudentsbroughthercousintovisitthewatercolorclassIteach.Hehadbeenaprofessoratauniversityandhadpartakeninmanyadventures.Ashestoodbyawindowintheclassroom,thelightcreateddramaticrimlightingonhisface,soItookaquickphoto.Later,whendoingthepainting,Isawthatthelightingcouldhelpportraythethoughtfulcharacterofmysubject.Ialsotookariskanddecidedtointegratecharcoalpencilintothepainting.FirstIputinasketchycharcoaldrawing.NextIpaintedwithtransparentwatercolorsusinglimitedcolorswithanemphasisonvalue.FinallyIaddedsomericepapercollagetogivearoughertexturetothewall.

Survivor|ChristineMisencikBunn14¼”×16½”(37cm×42cm)Transparentwatercoloron140-lb.(300gsm)cold-pressedpaper

Light/DarkContrastExpressesHopePerhapsthisportraitisthemostdeeplyfeltofallmywork.Iwantedtomakeastatementaboutmymodel’scourage,somypalettechoiceswereprimarycolorsemphasizingthereds.Imixednuancedredwashesandlayeredthemin,consideringvalue,intensityandtemperature.Seatedinthesunshineonthebackstep,thedarkglassonthedoorencompassedthemodel’sbaldheadlikeahalo,whilethewarmsunemphasizedherpalefacialcolor.Mygoalwasfortheviewertoexperience,throughtheuseofdark/lightcontrast,mysubject’sillnessgivingwaytohealingthroughthebrightnessofthesunlight.Themodelismy

givingwaytohealingthroughthebrightnessofthesunlight.Themodelismydaughter,Britney,atwo-timecancersurvivor.

AnAncientTune|FealingLin21”×15”(53cm×38cm)Transparentwatercoloron300-lb.(640gsm)hot-pressedpaper

PeachyWarmthInspiresRelaxationAlthoughIfoundmymodelatthelocalrenaissancefair,thisimagecouldhavesteppedrightoutofanancienttime.IpaintedAnAncientTuneinsuchasaturatedpeachylightwiththehopethattheviewerswouldbesorelaxedinthe

warmththattheymighthearalovelyoldtune.Thedelicate,sensitivesurfaceof300-lb.(640gsm)hot-pressedpapermakesmefeellikeI’mbathingababy.Itreceivesmultiplelayersofglazingverywell.Twosecretsforglazing:makesurethat(1)thepaperiscompletelydrybetweenlayers,and(2)thetonalvalueofthelayersremainsverylight.

Breaktime|JimmyTablante11¼”×151⁄8”(29cm×38cm)Watercoloron90-lb.(190gsm)Fabrianowatercolorpapermountedonfoamcoreboard

BlurringofOver-EnlargementEnhancesSceneOnebright,sunnyday,InoticedagroupconversingonapatchofgrassnearthecornerofKingandBishopStreetsinHonolulu.Thedeepemotivecolorscombinedwiththestrongcontrastandinterestingenvironmentmadeitaperfectpaintingsubject.Itookaquickpicturewithmycellphoneandheadedstraighttotheprintshop.Ilovedhowtheblureffectonthelargeprintenhancedthebeautyofthescene.Iwasquiteinspired!Istartedonitthatnightandpaintedwithclearfocusuntildawn.Finished!ThoughIhadusedonlywatercolors,to

mysurprisethepaintinglookedlikeoilsoracrylicduetothelightandshading.ThanksisduemyfellowartistswhoencouragedmetosubmitthistotheSplash14competition.

BrothersInArms|KimJohnson30”×22½”(76cm×57cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

LoseEdgestoConnectForegroundWithBackgroundTwobrotherswalkingarminarmandplayfullykickinguptheirheelsonasummerdaywasinspiring.Ipaintfromablackandwhiteprintfortworeasons:

IliketoworkoutthecompositiononmycomputerbeforeIprintit,andIdon’twanttobeinfluencedbythecolorsofthephoto.Leavingthebackgroundwhitecausedadilemmaaboutwhereandhowtoloseedgeswhileconnectingforegroundwithbackground.Ichangedclothingcolorandvalue,thenusedtransparentwatercolorandglazesfortheshadows,losingedgeswithinandbetweenthefigures.

CatchoftheDay|AnneChaddock30”×22”(76cm×56cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedpaper

ColorsPlaytheMusicofaSceneOneofmystudentsgavemethephotographofherhusbandandhisfriendsfly-fishing.Thebodylanguageandmovementofthefigurescombinedwiththemovementofthewatermadeconstantmusictome.SoftCobaltBlueisthebasisandlocalcolorforthepainting.PermanentRoseandCadmiumYellowLight

andlocalcolorforthepainting.PermanentRoseandCadmiumYellowLightcompletemycolorwheel,withTransparentRedOxideandWinsorGreenforearthygreensandneutrals.Allofthepaintingwasapproachedwet-on-dryconstantlysofteningeachbrushstroketomakesureIsavedmywhites.

Honeymooner|KimJohnson15½”×15”(39cm×38cm)Transparentwatercoloron300-lb.(640gsm)cold-pressedArches

GlazesforMulticolorShadowsHoneymoonerwasinspiredbyaphotoofamanonhishoneymoonwhocoincidentallywaswearingaHoneymoonersT-shirt!Hissunglassesandhatlefthimnearlyentirelyinshadow,butIlovedhowthestrongcastshadowssharply

definedhisfaceandshoulder.Ratherthanuseatypicalgraypalettefortheshadows,Icontrastedthewhitebackgroundwithcolortoconveytheverysunnyday.Usingtransparentwatercolorandglazeshelpedmeachieveallthedifferentcolorsinhisbeard,faceandshirt.

TheStoryteller|AnneleinBeukenkamp15”×22”(38cm×56cm)Transparentwatercoloron140-lb.(300gsm)soft-pressedFabrianoUno

TheSparkofExcitementforYourSubjectThesparkhastobeignitedrightfromthebeginning,whetheritisinthecolor,shape,emotionalconnection,memoriesorsomethingelseaboutyoursubject.TheStorytellerlitthatsparkforme.Ispottedhimatasunnysidewalkcaféanimatedlyrecountinghistales.WiththedramaticlightingonhisfaceandclothesIknewIwouldhavesomethingtoworkfrombackinmystudio.Thebackgroundcolorsareimagined—anassortmentofhuesthatcomplementhisskintones.Ienjoylooseandflowingpigmentswithabalanceofsoftandhardedges,warmandcoolcolors,andbrightandneutralshades.

GirlinMotion|TedNuttall14”×12½”(36cm×32cm)Transparentwatercolor

YellowAddsEssentialEnergyAttheMartinLutherKingJr.DayparadeindowntownDenver,Colorado,Istoodfacingthemassofmarchersandphotographedintothecrowdoffacespassingby.WhenIhadtimetostudymyefforts,Iwasrivetedbythispowerfulframe.Theyounglady’sdirectandpurposefulexpressionrepresentedtometheessenceofthepresentgeneration’saffinityforthegreatfigureheadtheywere

essenceofthepresentgeneration’saffinityforthegreatfigureheadtheywerecelebratingandthecauseforwhichhestood.Iwasverypurposefulwithmypaintingprocesstospeaktotheessenceofthetitlebothincapturingthelightandtheimpressionofloosespontaneity.Myuseofyellowpermeatingthecompositionaddedanessentialenergytothestoryaswell.

Contributors

KathleenAlexanderWW,NWWSP.O.Box300,Pacifica,CA94044650.455.0998studio@kathleenalexanderwatercolors.comkathleenalexanderwatercolors.comVillageGallery,Lahaina,MauiAbundanceYellowHibiscus

JenniferAnnesleyBFA,CSPWCjennifer@annesleystudio.comannesleystudio.comCanadaHouseGalleryPantheonTeatro

JanArchuletaCWS,NWS7148OrchardSt.,Arvada,CO80007303.403.1047jan.archuleta@q.comjanarchuleta.comTheMarbleGallery,Marble,COHealingEchinaceaSecondPlace,ProfessionalClass—FallArtsFestival(Regional),GlenwoodSprings,CO

GlenwoodSprings,CO

NancyBaay2805S.OngSt.,Amarillo,TX79109806.374.1070ButterfliesAreFree

MaryBackerNWS,WW,CAC1359SeaPinesDr.,Banning,CA92220mary@bodaciousimages.combodaciousimages.comStudioGalleryEncoreFinalist,Watercolormagazinecover,2009

HughBakerhughfbaker1@att.netKayaks

VanessaCalicaBaladadvcbaladad@gmail.comvanelectro.blogspot.comPatience

ChrisBeckNWS,TWSAP.O.Box1661,LosAltos,CA94023chris@chrisbeckstudio.comchrisbeckstudio.comWaitingintheWings

GrahamBerry

GrahamBerry38TarragonDrive,Blackpool,LancashireFY20WJ,UnitedKingdom+4401253592636grayberry@btopenworld.comgrahamberrystudio.comLythamCocklers

AnneleinBeukenkampP.O.Box5774,Burlington,VT05402abwatercolors.comTheStoryteller

KarenFletcherBravermanGWS3551FairfaxLn.,Davie,FL33330954.257.5564kfb1000@aol.comPapayaBestinShow,LillianFeldmanAward—GoldcoastWatercolorSociety“TheBeautyofTransparencyShow”FirstPlace,MiamiWatercolorSociety,39thAnnualExhibitChristineMisencikBunnOWS109EbersoleAve.,Fredericktown,OH43019740.485.2894chris.m.bunn@gmail.comCreativeImages,MountVernon,OHSurvivorJuror’sAward,32ndPWSAnnualJuriedExhibitionPengCaoASAA2755CountryDr.#139,Fremont,CA94536510.713.9830

510.713.9830walan1991@hotmail.comAncientWaterway

AnneChaddockNWS,AWS,VWSP.O.Box29431,Richmond,VA23242804.512.0319achaddock@gmail.comannechaddock.comSoleMatesCatchoftheDaySoleMates—FirstPlace,CatherineLorillardWolfeArtClub,NY

KathyCollinsNWWSkathy.collins2@comcast.netkathycollinswatercolors.comKaewynGallery,Bothell,WAAftertheRain

JaimieCorderoFWS,SDWS,MWSAquarelleStudios&Galleries,Inc.P.O.Box565658,Pinecrest,FL33256-5658786.303.5293wdjaimiec@aol.comaquarellestudiosandgalleries.comGreenwichParkRhodies

HeleenCornetSAF

SAFTroyHill,TheBottom,Saba,DWI599.416.2708heleencornet@hotmail.comheleencornet.comPeanutGallery,SabaRainforest.TheTreeonTopSpecialMention,TriennialInternationaloftheCaribbean,2010

BrendaCretney61MissionHill,Brockport,NY14420bcretney@rochester.rr.comThreeHorses

LaVonneTarboxCroneAWS,NWS2825IoneAve.,Eugene,OR97401541.687.1727tarboxcrone@comcast.nettarboxcrone.comPortlandArtMuseumRentalSalesGalleryRecycle

SusanCrouchWSNC/S,TWSA631DogwoodRd.,Statesville,NC28677704.287.7697susan@susancrouch.comsusancrouch.comCorbi

CristinaDelSolOMMA

unleashcreativity@yahoo.cacristinadelsol.comcristinasdailypaintings.blogspot.caCosmicDancerRichesonMerchandiseAward,3rdAnnualISAPInternationalOpenOnlineShowFrankEberNWS,TWSACaliforniaeber.frank@gmail.comfrankeber.comCityofLight,ParisDordogneRiverValleyViewDordogneRiverValleyView—AldenBryanMemorialAward,AWS2012145thAnnualExhibitionLindaErfleAWS,NWS,WW2723IvyKnollDr.,Placerville,CA95667530.622.2210linda@lindaerfle.netlindaerfle.netHighlightGallery,Mendocino,CAMilkGoatsofSaanenlandSwissCow

ManetteW.FairmontNWS,WW,MCWA447FirstSt.W.,Sonoma,CA95476707.996.2667manetteart@aol.comfairmontgallery.comFairmontGalleryAbovetheFirmament

AbovetheFirmament

NancyFortunatoTWSA/S,NWS,TWS/S249N.MarionSt.,Palatine,IL60074847.359.5033nancyfortunato@yahoo.comwatercolorart.netBlueTaxis–Japan

JonathanFrankNWSjon@jonathanfrankstudio.comjonathanfrankstudio.comReckoning

MingFranzNMWS5EstrellaVistaDr.,Edgewood,NM87015505.281.4956mingfranz11@yahoo.commingfranzstudio.comNewMexicoArtLeagueTahoeRocksHonorableMention,NMWSShow

MichiyoFukushima31-2634thSt.,#16,Astoria,NY11106646.552.4538michiyoartstudio@gmail.commichiyoart.comFischbachGallery

FischbachGalleryMinerva–G.C.T.TheAnnaHyattHuntingtonBronzeMedalinWatercolor,CatharineLorillardWolfeArtClub114thJuriedShowCarlaGauthierNWS,CSPW2007WalnutGreenDr.,Houston,TX77062281.384.2473carla.gauthier@yahoo.comcarlagauthier.comUpperBayFrame&Gallery,NassauBay,TXWaitingfortheLunchtimeCrowd

CharleneGerrishNWS,WW,WHSAptos,CAcegerrish@yahoo.comwatercolorgallery.comSteam’ntheRoundhouse

JeanK.GillAWS,NWSjkgillwatercolor@aol.comjeankgill.comSunStrokes&RainFall

StuartGivot1548MapleSt.Berth32,RedwoodCity,CA94404650.576.7023artiststu@yahoo.comRedwoodCreek,CollectionofMr.andMrs.TerryFancherLaurieGoldstein-WarrenNEWS,PWS,TWS

NEWS,PWS,TWSRR#4Box558-C,Buckhannon,WV26201304.472.1414laurengold@aol.comwarrenwatercolors.comMyBrother’sKeeperChosenforTravelExhibit,AdirondacksExhibitionofAmericanWatercolors,2011

DonGoreMOWS13408E.KentuckyRd.,Independence,MO64050816.254.7451dongore50@gmail.comWickedAwardofDistinction,WatercolorMissouriNational,2010

ElizabethM.HamlinFWS,CWA,NWWS1073ArrowheadRd.,CamanoIsland,WA98282360.387.7128lizhamlin@wavecable.comMetaphor#6

CatherineHeardingWHS9901TapestryGrove,LakeElmo,MN55042651.777.8158cathy@chearding.comchearding.comAWalkintheWoods

CathyHegmanAWS,NWS,MSWSP.O.Box126,HollyBluff,MS39088662.828.3431hegmanart@aol.comcathyhegman.comTEWGalleryChaosofCommitment

CatherineHillisSW,PW,BWSP.O.Box41,RoundHill,VA20142703.431.6877chhillis@aol.comcatherinehillis.comArtSquare,Leesburg,VA,loudounartsquare.orgMyPerspective

KarinIsenburgCSPWC54WhiteCliffeDr.,Courtice,ON,Canada,LIE-ITZ905.432.7032karinisenburg@hotmail.comkarinisenburg.comCollectionofthePeelArtGallery,Brampton,ONClementinesSelectedfortheDiplomaCollectionoftheCanadianSocietyofWatercolourPaintersJeanneR.JohnsonNWS,BWS2803WestRosegardenBlvd.,Mechanicsburg,PA17055Home:717.697.0410

Home:717.697.0410Cell:717.303.9132rogerrjeanne@aol.comjjohnsonwatercolors.comGlimpse

KimJohnsonAWS,NWS,WW3744E.JoandeArc,Phoenix,AZ85032480.251.6442kim@kj-art.comkj-art.comBrothersInArmsHoneymooner

KristinaJurickHoehenstrasse12,91227Leinburg,Germanyjurick-art@web.dejurick-art.deFishmarket,Venice

JeanKalinTWSA,WCWS/M,MOWS20650Highway371,PlatteCity,MO64079-9344816.992.3744jeankalin@unitedwb.coopJeanKalinArtStudioandGallery,PlatteCity,MOMorningGlow

ChizuruMoriiKaplanchizurukaplan@gmail.comchizuruart.comParis

FahmiKhanSLAA,TAEAfahmikhan@hotmail.comfahmikhan.comBlueRaven

CharlotteKnoxcharlotteknox.com42ndStreetPizza,NewYork

StevenKozarsteve@stevenkozar.comstevenkozar.comRipeningPumpkins

MarieLamothe5964S.BestieRiverRd.,Interlochen,MI49643231.276.9858mariejoseelamothe@yahoo.commarielamothe.comBierArtGallery,Charlevoix,MIBeautyBeheldFinalist,BlossomII—ArtofFlowers:AnInternationalArtCompetition&MuseumExhibitionRobertLeedy3750VickersLakeDr.,Jacksonville,FL,32224-8429904.401.2904robertleedy@comcast.netrobertleedyart.comOceanandAhern

ChristopherLeeper

ChristopherLeeperOWS4411MellingerRd.,Canfield,OH44406leepart@zoominternet.netchristopherleeper.comCharlotteFineArtGallery,Charlotte,NCBigBabyBeef

DonnaLesley859HoneyHouseLn.,Corvallis,MT59828406.961.1942lesleybooks@montana.comMr.Daly’sRoses

FealingLinNWS,WW,TWSA1720RamiroRd.,SanMarino,CA91108626.799.7022fealinglin@hotmail.comfealingwatercolor.comMorningCyclistNightinDresdenAnAncientTune

ZhangouLiuRoom604,No.460,GuangzhongRoad,Shanghai,China13818916446lzgct@163.comShanghaiRainyDay

RossLynem4512-26StreetNW,Calgary,Alberta,Canada403.837.3182rosslynem@gmail.com

rosslynem.comRubertoOstbergGalleryMeana

RobinLeeMakowski772.263.2587robin@rlmart.comrlmart.comAnotherRoundofPrimariesAwardofMerit,FloridaWatercolorSocietyOnlineShow,2012AcceptedintoWesternFederationofWatercolorSocieties2012Show,LasVegas,NV

AntonioMasiAWS/DF121BromptonRd.,GardenCity,NY11530516.455.6601amasi@optonline.netantoniomasi.comExodus

PaulMason1209JeniferSt.#2,Madison,WI53703608.255.8567paulmasonwatercolors@gmail.compaulmasonwatercolors.comLionsontheAvenue

DaveMaxwellNWS,WFWS,WASH817.279.3700

davidobf@gmail.comGoingGreenFirstPlace,SocietyWatercolorArtistsPeople’sChoice,NewMexicoWatercolorSocietyLaurinMcCrackenAWS,NWS,TWSA215N.DeerCreekDr.W.,Leland,MS38756817.773.2163laurinmc@aol.comlauringallery.comSouthsideGallery,Oxford,MSClearGlassware

MarkE.MehaffeyAWS/DF,NWS,TWSA/S5440ZimmerRd.,Williamston,MI48895517.655.2342mark@mehaffeygallery.commehaffeygallery.comTaosShadows2

DougMeythalerMWS/S1409GettysburgAve.N.,GoldenValley,MN55427763.595.9665smithmey@comcast.netmnartists.org/Doug_MeythalerDougMeythalerStudioonFacebookGawkersSjohnStreet,lowdownHonorableMention,MinnesotaWatercolorSociety’s2011SpringJuriedExhibitionSusanMontagueAWS/S,NWS/S,WFWS/S

AWS/S,NWS/S,WFWS/S7305S.PlatteRiverPkwy.,#104,Littleton,CO80120susanmspear@msn.commontaguearts.comTalesoftheNorthForkRememberMeadow’sEdgeTalesoftheNorthFork—SecondPlaceandPatron’sPurchaseAward,KansasWatercolorSocietyNationalExhibition,2011Remember—AwardofMerit,WesternFederationofWatercolorSocieties37thAnnualExhibit,2012Meadow’sEdge—2010NWS90thAnnualExhibition,2010-11TravelingExhibitionMeadow’sEdge—2012AWS145thInternationalExhibition;DongKingmanAward;2012-13TravelingExhibitionJamesScottMorrisonNWS/S,ASAA792FairgateDr.,Hendersonville,NC28739828.697.8465gr8artis@morrisbb.netmorrisonart.com4CanoesatKanuga2011ArtisticExcellence,SouthwesternArtMagazineRanMuMWSmuran814@hotmail.commaggiemou.comAfterShowerFinalist,MidwestRegionalCollegiateFineArtLegislatureShowforMichiganHouseofRepresentativesSachinNaikB39/40RajarshiShahuSocty.,NatuBaug,opp.RawatBrothers,Pune-SataraRoad+919860419178

SataraRoad+919860419178sachinnaikcreations@yahoo.co.insachinnaik.comBlueWinterMorning

JudyNakariSAWG,CWS,TNSW31853PonderosaWay,Evergreen,CO80439520.682.8004720.626.5672judy@nakari.comnakari.comShadowsoftheTuscanSunBestofShow,2011SAWGAnnual

MarieNataleNJWCS,PWCS26DiamondDr.,EggHarborTownship,NJ08234609.214.9905mariedezies@comcast.netmarienatale.comSOMANewArtGallery,CapeMay,NJSomething’sBitingAWalkonHistoricJackson

NancyNear22085LindaVistaPlace,Cupertino,CA95014408.865.1005templeton_near@yahoo.comnnearart.comCaribbeanSpice

AlfredNg502-176JohnStreet,Toronto,Ontario,CanadaM5T1X5416.596.7918alfred@alfredng.caalfredng.caParrotTulipWithBlue

r.mikenicholsAWS,NWS,WW4648LaderaLn.,Riverside,CA92501951.686.4099mnicol3@yahoo.commnico.weebly.comMysteryManBestofShow,2011DominickFrascellaExhibitionJanetNunnCWS21531MainAve.,Golden,CO80401303.704.2052janetnunn@comcast.netjanetnunnwatercolors.comRootsandStems

TedNuttallAWS,NWS,TWSA4225N.36thSt.,Unit34,Phoenix,AZ85018602.253.1605ted@tednuttall.comtednuttall.comGirlinMotion

KrisParins

SW,FWSTownsend,WI715.276.9476Sarasota,FL941.266.5285kris.parins@gmail.comkrisparins.comFloatersFirstPlace,FloridaSuncoastWatercolorSocietySuePinkNWS,SW,FWSP.O.Box366733,BonitaSprings,FL34136sue@suepink.comsuepink.comTheSecretoftheOldClockNWSTravelingShow,2010

KrisPreslanNWS/S,TWSA/S,WWITS17841LakeHavenDr.,LakeOswego,OR97035971.285.0918krispreslan@mac.compreslanart.comPortlandArtMuseumRSGSidewalkRaphaelAcceptedNWS,TWSA

LyndaA.N.ReyesNWS,WWGlendale,CA91206lyndaanreyes@gmail.com

lyndaanreyes.comCaliforniaGrandpa

DorrieRifkinTWS,BWS,NEWS31RegencyCircle,Englewood,NJ07631201.913.1140drifkin@dorrierifkin.comdorrierifkin.comAcrosstheStreetFromGrandCentral,NYC

WilliamRogersCSPWC,TWSA,SCA4CarterCrescent,Antigonish,N.S.,CanadaB2G258902.863.6797billrogers@eastlink.cawilliamrogersart.comLyghtesomeGallery,Antigonish,N.S.,CanadaGo

JohnSalminenAWS/DF,JWRIC,AWIjohnsalminen.comTheStremmelGallery,Reno,NVTheMallMarketStreetTheMall—FirstPlace,TransparentWatercolorSocietyofAmericaSkyledgeAward,2012MarketStreet—CFSMedal,AmericanWatercolorSociety,2012

PrafullB.SawantASI,BASI

ASI,BASI31,ChitranganBungalow,ShivColony,Vanvaibhav,IndiraNager,Nasik—422009,(MS),INDIA+91-9860745385,9766311965prafullsawant79@gmail.comprafullsawant@rediffmail.comprafullsawant.comHolyMorningatNasikGhatMirrorofSkyHolyMorningatNasikGhat—FirstAward,IstanbulWatercolorSociety,Istanbul,Turkey,May2012HolyMorningatNasikGhat—TheArtist’sMagazineAll-MediaArtCompetition,OH,USA,May2012

ThomasW.SchallerAWS,NWS,NWWS2111GlencoeAve.,Venice,CA90291310.390.4630info@twschaller.comthomasschaller.comRshannaGalleryConcreteFactory–Vancouver

PatriciaSchmidtNWWS,WSO,CPSA1038N.E.76thAve.,Portland,OR97213patty@patriciaschmidtart.compatriciaschmidtart.comPortlandArtMuseumRentalSalesGalleryYearoftheRabbit

F.CharlesSharpeAWS,ASMA4617ReigalWoodRd.,Durham,NC27712

4617ReigalWoodRd.,Durham,NC27712919.477.1360csharpetts@aol.comPaintedWithaRoller

DeanSheltonTNWS,TheChestnutGroup,AWS7632CumberlandDr.,Fairview,TN37062615.799.0409dsartwork@comcast.netdeansheltonfineartist.comRichlandFineArtThePath

PennyThomasSimpsonNMWS,NWS326McClureRd.,LasCruces,NM88005575.921.4028pennyartworks@gmail.compennyartworks.comWeemsGallery,Albuquerque,NMRealCherries

KaySmithSWS,TWS,WFWS800CaprockDr.,BigSpring,TX79720Home:432.263.6466Cell:432.213.1153kay1971smith@aol.comkaysmith.artspan.comBrushworksGallerySinatra

Sinatra

MichelleGollSmithsketchycharacters.comSpringPreviewPapillon

FrankSpinoNWS6777WardPkwy.,MelbourneVillage,FL32904321.722.0424fspino@att.netfrankspino.comFreshSqueezedMakin’OJFreshSqueezed—BeverlyGreenMemorialPurchaseAward,NationalWatercolorExhibition,2011Makin’OJ—JerrySummersMemorialAward,FloridaWatercolorExhibition,2011

DavidL.StickelAWS,NWS1201HatchRd.,ChapelHill,NC27516dlstickel@juno.comdavidstickel.comAfternoonStroll

RonStockeNWWS,PSGNWPEverett,WA425.761.2389

ronstocke@yahoo.comronstocke.comWiseDesignzGalleryTheCornerMarketBurrardSt.,Vancouver,BC

JoyceStrattonNewbern,NCjoycestratton.comCityArtGallery,Greenville,NCAbsolutionV

SusanM.StullerNWS,TWSA2930BarrowPl.,Midlothian,VA23113Home:804.379.1477Cell:804.350.1891susan.stuller@comcast.netsusanstuller.comCrossroadsArtCenter,Richmond,VAButIsItArt

DeborahSwan-McDonaldNWS23274LeonoraDr.,WoodlandHills,CA91367818.472.7082debimcdonald@yahoo.comdeborahswan-mcdonald.comTheProfessorMerchandiseAward,“FourFacesofVIVA”JuriedShowatVIVAGallerySecondPlace,ValleyWatercolorSocietyAnnualJuriedShow,2011

BrendaSwenson

BrendaSwensonNWWS,WW514ElCentroSt.,SouthPasadena,CA91030626.441.6562swensonsart@gmail.comswensonsart.netSchroederStudioGallery,Orange,CATheCastleGreen

JimmyTablanteHWS94-1042KaiamuSt.,Waipahu,HI96797808.533.6686808.722.9568jtdesigns@hawaii.rr.comjtdesignsonline.comKaiKuHaleGalleryBreaktime

SuziVitulliRichland,WA509.628.6656suzivitulli@charter.netsuzivitulli.homestead.comCootchieCoo

CarrieWaller505GreystoneBlvd.,Cabot,AR72023843.813.7752carriewallerart@gmail.comcarriewallerfineart.comAnticipationFirstPlace,LouisianaWatercolorSociety,CrescentCityBrewhouse

FirstPlace,LouisianaWatercolorSociety,CrescentCityBrewhouseExhibitFASOOutstandingWatercolor,November2011

NancyWalnesPVW10555RiverRunCt.,Manassas,VA20112703.447.8246nwalnes@comcast.netnancywalneswatercolors.comBeaufortMarsh

WenCongWangIF.,No.43,Ln.120,Zhong3rdSt.,XizhiDist.NewTaipeiCity221,Taiwan(R.O.C.)886.2.8646.2688wencong.w@gmail.comwangwencong.comTheFarm

SoonYoungWarrenAWS,NWS,TWSA4062HildringDr.W.,FortWorth,TX76109817.926.0327soonwarren@charter.netsoonwarren.comYourPrivateCollectionArtGalleryHarpyEagle

LorraineWatryNWS7415HickorywoodDr.ColoradoSprings,CO80920719.291.2748

livewiregrafx@yahoo.comlwatrystudio.comAratiArtistsGallery,ColoradoSprings,COShow’sOver

JudyWelshCWA,AAW,ArtsoftheCovenant963WallaceDr.,SanJose,CA95120408.268.6501judywelsh.comKonbanwa

DavidWicks15726DoubleEagleDr.,Morrison,CO80465artopia@comcast.netwicksart.comBridgeNymph

OddvarWoldNWAStavanger,Norwayoddvwo@online.nolivoddvar-watercolour.comHaukeli3

RichardEavesWoodsSWS3672HobartCircle,Sparks,NV89431775.356.1930woodsart@charter.netwoodsarts.comDardanellesLake

DardanellesLakeJudgesMeritAward,SWS2011BalloonRaceShowKeikoYasuokaAWS,NWS,TWSA23LitchfieldLn.,Houston,TX77024713.973.2739keiko_yasuoka@hotmail.com2collaboratingartists.comHarrisGalleryTulipsMySpecialPlaceWhichOne?Tulips—BestofShow,RioBrazasTulips—FritzWeigandAwardforRealism,RockyMountainNationalWatermedia,VirginiaMySpecialPlace—NellStorerMemorialAward,AWS

AbouttheEditor

RachelRubinWolfisafreelanceeditorandartist.ShehaseditedandwrittenmanyfineartbooksforNorthLightBooks,includingWatercolorSecrets;theSplash:TheBestofWatercolorseries;theStrokesofGenius:BestofDrawingseries;TheBestofWildlifeArt(editions1and2);TheBestofPortraitPainting;BestofFlowerPainting2;TheAcrylicPainter’sBookofStylesandTechniques;PaintingShips,ShoresandtheSea;andPaintingtheManyMoodsofLight.ShealsohasacquirednumerousfineartbookprojectsforNorthLightBooksandhascontributedtomagazinessuchasFineArtConnoisseurandWildlifeArt.

Acknowledgments

Thanksisduetoalloftheartistsinthisbook,whoselivesrevolvearoundlightandcolorandwhoputalittlemoreofeachintoallofourlives!Thankyouforsharingyourtechniquesandyourwisdomwithus.Iamappreciativeofthetime(andmoney)spentingettingtheproperlyformatteddigitalphotostous.Youareawonderfulgroupofpeopleandartists!Muchgratitudeandcreditalsogoestotheeditors,designersandstaffatNorth

Muchgratitudeandcreditalsogoestotheeditors,designersandstaffatNorthLightBookswhohaveattendedtothemanythanklessdetailsneededtomakethisintoabeautifulfinishedbookincludingproductioneditorSarahLaichas,designerGeoffRakerandproductioncoordinatorMarkGriffin.

Splash14:Light&Color.Copyright©2013byF+WMedia.Allrightsreserved.NopartofthiseBookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyNorthLightBooks,animprintofF+WMedia,Inc.,10151CarverRoadSuite200,BlueAsh,OH45242.(800)289-0963.FirstEdition.

OtherfineNorthLightproductsareavailablefromyourlocalbookstore,artsupplystoreoronline.Alsovisitourwebsiteatfwmedia.com.

eISBN:978-1-4403-2093-4

Thise-bookedition:July2013(v.1.0)