Artist Daily : watercolor painting

Is Grandma Holding a Moose Leg?

Courtney Jordan — Mon, 17 Jun 2013 03:36:00 GMT

Brooklyn-based artist Allison Maletz doesn't want to use watercolor in a traditional way. Although her work is representational and often figure-based, exploring themes of human connection and the quirky, often dysfunctional, "average American family," she refuses to be bound by any rules about how to handle the paint.


Nana Holding Purse & Leg, 39" x 27.5", 2009, watercolor painting. All works by Allison Maletz.

"I adore the medium itself because it is so hard to control," Maletz says. "You mix it with water and it goes where it wants to. You constantly try to gather it all and control it, but you can only do so much. There's an incredible metaphor there--striving for control and thinking you know where you want it to go, but it never happens exactly that way." The headstrong fluidity of watercolor is the perfect companion for Maletz, who approaches her process in an equally independent, non-traditional manner.


	Mom Learning to Float, watercolor, 24" x 40.5", 2006.


	Picking Oranges in Grandpa’s Yard, watercolor, 59" x 48", 2008.

The artist typically paints on a large scale. One of her earliest watercolors is 15' x 5', and took her nine months to complete. She does not stretch her paper, letting it wrinkle and react naturally to the applied washes. Maletz also paints horizontally, allowing the water to pool and collect where it will. White does not have a place on her palette, as she finds it can turn colors milky and sometimes muddy.

The artist prefers "painting from the past" and instead of painting on location (as many watercolorists often do), she uses old photos of family members and close friends as references. She also contradicts the traditional watercolor practice of working with washes and starting with lighter watered-down pigments and building up successive layers, as well as approaching the entire page at once with no amount of detail built up in a particular area.

"I start with a basic pencil drawing, and then I paint step by step, breaking the composition into sections—clothing, skin, and background. I will complete the background entirely and will have white, untouched areas that make the piece look a bit 'paint by numbers.' I do the skin of my figures last and add lots of detail, which is not particularly encouraged in the style."

But for all her rule-breaking choices when it comes to her own work, Maletz stresses that you have to know the rules in order to break them effectively. "I've had an extensive art education, but my style is my own. I choose to paint a different way. For my students, I give them all the traditional approaches and basic knowledge. I want them to know what the paint is capable of doing. It isn't about me teaching them my philosophy, but for them to find something in the medium that they love and that works for them."


Cheerleaders, 11.6" x8.7", watercolor, 2008.

Maletz is doing what all great artists have done—she has set her own expectations for a given medium and separated her process from any kind of historical obligation or traditional commitment. Instead, she pursues her art as a bit of a rebel, being true to her artistic eye and seeing where it takes her.

For more watercolor painting inspiration and unique techniques from contemporary artists, check out Splash 14: The Best of Watercolor. You'll discover the methods of top contemporary watercolor painters with tips and techniques that you'll be able to apply again and again in your practice, so that you know all you need about watercolor painting and can take it where you want to, just like Maletz does.

For more information on Allison Maletz's work and upcoming workshops, visit her website.

Discover a Powerful Painting Method

Courtney Jordan — Mon, 10 Jun 2013 03:29:00 GMT


	Half Dome, Yosemite 1920, 15 1/4 x 13 1/4, watercolor and pencil on paper. All works by William Zorach. Images courtesy Michael Rosenfeld Gallery.

William Zorach is a well-known 20th-century sculptor who participated in the Armory Show of 1913 and whose work is held in numerous public collections. But as his career unfolded and he found his way as a sculptor, watercolor painting was always part of his practice.

"I have continued to paint watercolors all my life," Zorach wrote in his 1967 autobiography, Art Is My Life. "Their spontaneity gives me a certain release and satisfies my love of color. After all, painting was my training and my world for all my early years, and I will always see the world in color as well as form. ... All art is correlated; all stems from the great creative impulse. There is no reason why sculptors shouldn't paint and painters sculpt."

Zorach's watercolor paintings bear no resemblance to his sculptural subject matter or style. Instead, the paintings allowed him to explore an entirely separate avenue of expression. During the summer the artist spent in Yosemite National Park, in California, the cliffs and peaks of the Sierra Nevada mountains were his subject matter, and his watercolor art show how just a few strokes of paint on paper can create a sense of atmosphere and place.

The painting Half Dome, Yosemite, for example, comes together in what looks to be less than a few dozen strokes. There's a spontaneous sense of movement and a seeming understanding that the pigment itself can do a lot without much fussing and force from the artist's brush. The bright yellow that glints off the edges of the mountains gives a sense of the sun hitting the form, but it doesn't appear everywhere the sun would reflect. By applying the pigment in just a few places, the artist creates more impact and infuses the painting with warmth and shine.


Yosemite Trees, c.1920, 15 1/2 x 13 1/4 watercolor on paper.

The darkest shadow in the center of the painting—created using what looks like a drybrush technique—establishes the mass of the form and gives a sense of texture and depth. That, plus the blots and washes of purple and dusky pink, give an indication of the mountains' profile in a way that seems loose and free, a celebration of the moment, much as the artist intended.

"I spent five months in the Yosemite Valley sketching, drawing, painting, and doing watercolors," wrote Zorach. "Every now and then in life we have an experience that moves us so deeply, that holds us with such sheer, transcendent beauty, that it takes us completely out of this world. It is this feeling that only an artist can convey in his art. It is a journey into infinity."

The artist likened watercolor painting to writing poetry because there is fluidity and looseness that comes when artists allow the medium to guide them as opposed to steering it along at every step in a composition. To better understand the movement and freedom of watercolors, and to see how artists explore this medium both in and of itself and as a gateway to work with other tools and materials, the Expert Approaches to Watercolor Painting Kit is available and full of resources that practicing artists shouldn't do without.

Go For Awesome

Courtney Jordan — Fri, 24 May 2013 04:38:00 GMT


Looks Like Heaven by John Budicin, 2002, oil painting, 32 x 40.

Almost any artist will tell you that there's a certain appeal to working outdoors that can't be found anywhere else. With spring in full swing, many of us have left our studios for our porches, backyards, and beyond. To celebrate the season and all of the landscape art being made, here are 10 ways you can make the most of your next outdoor painting session.

Start with a good, long look. Painting landscapes lets you create work that can take the viewer on a journey into a new environment. To create a truly expressive work of art, it helps to take more than a cursory look around and quickly set up shop. Walk around, sit a spell, and really soak in the landscape around you.

Focus your eye. Whether's it a rocky cliff or a busy urban street, outdoor settings can offer a myriad of potential subjects. Sometimes, however, it can be too much to take in, leading to a painting that feels busy, cluttered, and lacking a center of interest. Massachusetts-based artist Nancy Colella starts every composition based on what she's visually drawn to. She makes those elements the focal point of her painting, and tones down everything else so that they come to the fore.

It's all about the light. Light changes throughout the day, which makes accurately capturing it one of the biggest challenges of painting outdoors. The flip side, of course, is that when one is able to do this correctly, a painting is instantly elevated. Observe the quality of light, aiming for a spontaneous interpretation that still takes observation skills into consideration.


	Birds Wading by Stephanie Sanchez, 1989, oil on panel, 32 x 46, private collection.


	Marble Cascades by Jane Bertram Miluski, 2003, watercolor, 14 x 21.

Don't paint a blue sky. They rarely exist! California watercolorist Dick Cole acknowledges that landscape painting has enhanced his skills as a colorist and helped him to realize that the sky, along with many elements in nature, are made up of a variety of colors and not just one pure hue.

Strike a balance. Spend as much time observing as you do painting. For artist Glenn Rudderow, this is a crucial part of his plein air practice. "Nothing can take the place of direct observation—of being there, seeing, communicating, and expressing the spirit of one's subject," he says.

Go for awesome. Albert Bierstadt and Thomas Moran of the Hudson River School produced paintings of the American landscape that were technically masterful, but most of all they were awe-inspiring. They created luminous paintings that seemed too bright to be true. They amplified the elements of the landscape that inspired them most, leaving the viewer with the same sentiments.

Don't bring your studio outdoors. The thrill of working en plein air is that you can shake up your routine and work differently than you might usually. Use the change in location to try new techniques, such as working on a smaller scale or focusing predominantly on light and other atmospheric qualities.

Colors contribute to a sense of space. When creating her landscape paintings, Kansas artist Kim Casebeer adjusts her palette in order to accurately render atmospheric changes and a sense of space. For example, there is usually more red, orange, and yellow running through objects in the foreground, and blue, indigo, and violet for shapes that recede in the distance.

Go with the flow—of air. Air moves objects. It ripples water, curls leaves, and sways limbs of trees. Use brush strokes and shading to create movement in your work.

Perfection isn't everything. You can spend all day looking for a "perfect" composition that just doesn't exist. Embrace the reality around you—smog, power lines, even debris—and open yourself up to telling interesting stories with new subjects.

How have you been taking advantage of spring in your work? Leave a comment and let us know. If you want to learn more about painting landscapes—including how to paint mountainous vistas accurately, avoid compositions that lack cohesion, and more—Donna Dewberry's Essential Guide to Flower and Landscape Painting gives you all the one-on-one instruction you'll want to successfully paint landscapes and all the elements you'll find there. Enjoy!

Proven Steps of Watercolor Painting Mastery

Courtney Jordan — Wed, 15 May 2013 03:19:00 GMT


Procida, Italy IV by Keiko Tanabe, watercolor, 14 x 21, 2008.

One of the best things about being at Artist Daily is seeing incredible artwork on a daily basis. This is especially true in the area of watercolor painting. I wasn't too familiar with many contemporary artists working in the medium before I started working here, but I've become quite the watercolor fan in the last few years with quite a few watercolor artists on my "watch" list.

In the spirit of supporting the watercolorists out there and in a desire to highlight how evocative a medium it can be, here's a top-five list of watercolor tips for those just starting out, and those who could use a little help along the way.

Load your brush. When starting out, and to avoid creating a piece that looks overworked, paint with a sure stroke and don't shirk on color.

Go abstract. To understand what watercolor can do, give up control to gain insight. See how the paint and water move, and what kind of effects you can achieve by playing with the water-to-pigment ratio, surface and surface tilt, and color layering.


	Living on the Streets by Dean Mitchell, watercolor, 15 x 11, 2009.

Don't forget to sketch. Like any performer or musician, an artist should explore his or her chosen medium by experimenting in a loose, pressure-free manner. Using larger brushes when sketching in watercolor helps you to concentrate on overarching compositional shapes that every good painting needs.

Find the light. Watercolorists typically work from light to dark, which means that hoarding and protecting those segments of paper where highlights will appear is crucial. Using masking fluid and tape are options but be mindful of the distinct edges these can leave.


Seattle Newsstand by John Salminen, watercolor painting, 22 x 30, 2007.

Consider a limited palette. When just starting out, a select group of colors helps simplify the painting process and helps you develop your color-mixing skills. Avoid dark browns and opaque colors, as they tend to appear somewhat muddy and dull. Try a warm and cool of each color you want.

There are as many techniques and skills to master within watercolor painting as there are in any other. To help you accelerate your process and produce the best watercolor paintings you can, consider Soon Warren's new DVD, Watercolor Crystal. You'll find instruction on composition, subject matter, and formal execution. To share your own hard-won tips and skill, as well as the kind of challenges you are addressing in your work, leave a comment.

How Do You Paint on the Go?

Courtney Jordan — Wed, 08 May 2013 04:20:00 GMT

It’s only May, and already I’m fantasizing about summer road trips and exotic jaunts. But then I remember that almost every time I go on vacation my glow wears off once the artists show up. Inevitably, I see a traveler who is painting landscapes or sketching, creating significant and personal mementos while I am left envious and grumpy because all I have to take home are cheesy postcards and tacky magnets. This can’t go on!

Ville Franche, France
by Eric Wiegardt, 2009, watercolor painting, 22 x 30.

I sleuthed around to find an art medium that is a facile traveler, and almost immediately my pity party was over. Landscape painting in watercolor! The supplies are minimal, there’s nothing heavy or cumbersome to lug around, pieces dry quickly so you can paint and move on with your journey, and storage can be as simple as closing a sketchbook. Watercolors can also be used to enhance and complement graphite and pen-and-ink sketches, which opens up even more options. But for those who really love oils, if you carry a small pack and use a condensed palette, painting on the go is totally doable as well.

The approach to painting on the go is more a mindset than what you are painting with. Painting quickly is the goal, but that’s not about time management as much as working intuitively. Therefore it helps that loose yet controlled brushwork often shows watercolors and oils to their best advantage. Painting quickly also provides good practice in not getting bogged down in details of the landscape artwork you create and, instead, using broad swathes of color to build a sense of atmosphere.

Let me know how you paint when you are on the go—leave a comment and let me know. And for more tried and true tips to improve your landscape art skills when you are on the go, consider Painting on Location. Whether you are planning your next trip abroad or refining sketches you do on location in the studio, the technical demonstrations, artist tips, and painting tutorials in the book will help you learn how to become a better artist.

And to see more of Eric Wiegardt's watercolors like the one above (which put me in a decidedly vacation state of mind!), visit his website. Enjoy,

Watercolor Painting Pencils? Sure, Tell Me Another One!

Courtney Jordan — Fri, 26 Apr 2013 03:38:00 GMT

For just a few seconds, I thought that watercolor pencils were some kind of April Fool's come lately prank. I mean, everything I think of and know about watercolor painting is that it is fluid and kind of uncontrollable. In a pencil, how can watercolor art still have that same looseness? But then I thought about the reverse of this-watercolor pencils might mean no more watercolor paintings going off the rails. With a pencil, I would be able to guide the forms more and give them the overall shape that I want, right? Well, I was a little right and a little wrong. Watercolor painting pencils can give you a bit more control, but the fluidity of the medium is still there.

Farmers' Market Peonies by Kristy Ann Kutch,
watercolor painting, 2002, 15 x 20.


Step 1-2. Adapted from Drawing and Painting With Colored Pencils: Basic Techniques for Mastering Traditional and Watersoluble Colored Pencils (Watson-Guptill, New York, New York).

Here's a step-by-step watercolor tutorial on using the wet-in-wet watercolor-pencil technique to create a lovely peony painting from watercolor artist Kristy Ann Kutch, so you can see for yourself!

Step 1 & 2: Prepare a line drawing of a peony blossom using either a light blue, lavender, or HB pencil on hot-pressed watercolor paper. Save the central light-colored stamen area of the peony with masking fluid, and allow it to dry.

Step 3 & 4: Stroke on dry layers of these watercolor pencils, beginning with the lightest values and ending with the darkest: light magenta, pink madder lake, light purple pink, and mauve. Dissolve these layers by stroking from the lightest to the darkest areas with a damp, size 6 round brush. Wet only one petal at a time. The top petal in this illustration has been wetted and the pigment dissolved into a wash.


		Step 3-4.

Step 5: Touch a wet, size 2 rigger brush directly to the lead of a violet or pink carmine watercolor pencil so the entire brush is saturated with pigment. Lightly dab the brush's tip with a tissue. Touch this brush directly to the wet petal area, and drag it through the length of the petal in one continuous stroke. Only brush in one direction. The wetter the petal, the more the color will spread and flow. Repeat this process for each petal, but be sure to wait until adjacent petals are dry to keep each petal distinct.

Step 6: When the entire blossom is dry, peel away the making fluid, and apply strokes of cadmium yellow and cadmium orange to the stamens. Wet them with either the fine tip of a colorless blender marker or a wet size 2 round brush. If desired, enhance the colors with either traditional or watercolor pencils in the appropriate color. Use a Tuscan red Verithin pencil on the stamens and along the petal edges to refine these details.


Step 5-6.

Did this open your mind to the possibilities of how to paint with watercolor pencils? It certainly did with me! For more watercolor painting tips and watercolor lessons from professional artists and skilled watercolor instructors, consider a subscription to Watercolor Artist magazine. It will have all the inspiration and methods you need to keep your art going strong! Enjoy your subscription!

Tie Your Hands Behind Your Back

Courtney Jordan — Wed, 17 Apr 2013 03:29:00 GMT

You can go the less extreme route, of course, but there is something to be said about a studio painting session in which you don't pick up a brush. You don't make any sketches. You just observe. I find myself doing this again and again when I discover a new artist or a body of work from a painter or draftsman that I thought I knew plenty about.

A watercolor painting by Ella Du Cane.

The work of Victorian-era watercolor artist Ella Du Cane came as a surprise to me when I came across it recently. These watercolor paintings allowed me to step back in time and see Japan and the West Indies through the eyes of someone who lived more than a century ago. When I sat in front of the images I was surprised and pleased at how I was able to give myself a watercolor tutorial in a sense.


A watercolor painting by Ella Du Cane.

By looking alone, I see how Du Cane put a lot of prominence on two or three major shapes in each painting; that the shape and color of cast shadows were a subtle but essential part of her works; and that the lines the artist used to map her scenes were created with deft perspective. And that was just what I observed in the first few minutes of looking.

When I continued studying Du Cane's watercolors, I found a delicate but relatively tight color palette and large though delicately tinted expanses of white. She was also able to situate figures in the landscapes without having them overwhelm or dominate the scene. About this time, I had an epiphany looking at the paintings--Du Cane was an observer just as I was now, studying the exotic (at least, to me) places she visited and making these beautiful visual memoirs of them.

All that, and I never did more than study the works with my eyes alone! If you are committed to enhancing your watercolor-painting techniques, not to mention your observational skills, the most one-of-a-kind resource that I can recommend is Mary Whyte's Essential Lessons in Watercolor Painting. Just looking at her watercolor-painting works is a workshop in itself. And hearing directly from the artist about her watercolor art is incredibly inspiring. Enjoy!

White Paint on White Paper

Courtney Jordan — Mon, 08 Apr 2013 03:05:00 GMT

Let me first clarify that the watercolor painting technique of white-on-white isn't a highfalutin, conceptual idea of existentialism and the true meaning of art. No, it allows watercolor artists to achieve brilliant and bright shades of white and other light effects by applying white paint over and around the white of watercolor paper.


Palace of Fine Arts, San Fransisco by Michael Reardon, watercolor painting. Adapted from an article by Bob Bahr.

Watercolor artist Michael Reardon loves painting passages of white in watercolor because of the subtlety and beauty he is able to achieve through this one aspect of his watercolor art. Reardon discovered this approach while traveling. He would make quick sketches and, for the sake of expediency, he would keep parts of the painting unpainted. Essentially, highlights of the white of the paper would be left "unpainted" though surrounded by nuanced shades of painted or tinted washes of white. This need for speed turned into an asset for the artist, as he found that he could draw the viewer's eye with the use of the pure white of the unpainted paper, so he could complete a watercolor travel sketch to suit his on-the-go schedule, but still capture the light and atmospheric effects of the moment.

From here, Reardon began experimenting with a range of subtle shades of white that make the white of his paper seem even whiter, such as putting your darkest value next to the white of the paper for the greatest contrast. But the artist also discovered that a sense of searing whites can come when the watercolor artist puts number-two values next to the number-one value of the white of the paper.


	Blue Mosque by Michael Reardon, detail, watercolor painting.

"The beauty of painting shades of white goes to the heart of my approach to capturing the fleeting qualities of light," he says. "Light bouncing off a white object is the clearest example." So Reardon chases these delicate color influences, from the warm tones on the ground to the tints of blue in the sky to the greens of nearby plant life, opening his eye to all the ways that the brilliance of his whites are affected and replicating them in his watercolors.

For more watercolor painting techniques, consider the latest painting lessons from Johannes Vloothuis in his unique DVD, Paint Stunning Landscapes from Photos. Beginner watercolor artists will be put at ease with the straightforward and intuitive approach of this master artist, but the more advanced watercolor artist will be challenged and enlightened as well. This is a resource that can grow with you as a watercolor artist, giving you more insight as you become more advanced. Enjoy!

When the Situation Feels a Little Off

Courtney Jordan — Wed, 06 Mar 2013 19:55:00 GMT

Artist Allison Maletz forcibly breaks with convention and defies the observed rules of watercolor painting, working in ways that seem contrary to what the medium is capable of doing and exploring subject matter that can spark uncomfortable and often contradictory feelings in the viewer.

Hug by Allison Maletz, detail, watercolor painting.

Maletz's first solo show, up through March 24 at Christopher Henry Gallery, in New York City, reveals how psychologically intense and humorous the seemingly mundane American family can be. From brothers in matching sweaters forming a human totem pole to a romantic embrace that is just this side of creepy, Maletz explores the moments when familial bonds are pulled just a little too tight and situations begin to feel a little off. In her paintings, warmth between mother and daughter, sisters, or husband and wife turns cloying, and bright moments that initially endear themselves to the viewer darken, metaphorically speaking, with more study. "I make images that are beautiful, happy, and nostalgic and push them to their possible breaking point, when their pleasantries overtake them and they reach a level that is no longer enjoyable but somewhat uncomfortable," says Maletz.


Generation Four by Allison Maletz, detail, watercolor painting.

In step with the duality of her chosen subject matter, Maletz's treatment of watercolor is also a combination of contradictions. On one hand she courts the out-of-control aspects of the medium by working horizontally and allowing fluid color to pool and spill where it may. In some cases she allows the watercolor to pool in grotesque puddles or large swaths of color that dry inconsistently, as in Hug, making the environment visually foreboding and creating an almost claustrophobic feel. But in other cases the results are lovely. Sun-dappled leaves and juicy fruit appear vibrant and effortlessly drawn, as in Picking Oranges in Grandpa's Yard. Shadows on skin and highlights in a braid of hair look quite lifelike.

But Maletz also craves control in her works, otherwise there would be no explaining how she creates the subtly complex and highly patterned textiles that many of her figures are clothed in. What started as an interest in color dialogues, in which Maletz created patterns with primary colors alone, has evolved into a deeper interest in symmetry, layering, and duplication. Maletz initially took visual reference from Turkish and Art Deco patterns but has now moved on to design the patterns in her head, though many are inspired by the lives, hobbies, and pursuits of the people she paints.

"I paint people that I know (or got to know), and when I find myself struggling to create a pattern, I think about who the person is that I was painting the pattern on," says Maletz. "This idea really took shape on the painting Hug. My father is hugging his father. My father, on the right, is an accountant. His pattern became about numbers melding together into a sea of carefully constructed numerical geometry. For my grandfather, who is an excellent card player, the pattern became about diamonds, spades, hearts, and clubs."


Picking Oranges in Grandpa's Yard by Allison Maletz, watercolor painting.		Braid by Allison Maletz, watercolor painting.

To create these intricate patterns on paper, Maletz starts by painting the fabric of a figure's clothing, creating wrinkles and a sense of the cloth draping with bleeding puddles of pigment. Once that dries, she draws the pattern over the folds of the clothing, dipping in and out and following the contours of the figure and how the fabric lays on his or her body. Then she paints the patterns in, always taking into consideration the highlights and shadowed areas of the clothing, as well as the ambient light in the scene.

The resulting patterns are a bit mind-boggling considering the fluidity of watercolor, but Maletz makes it seem effortless. Yet another contradiction from an artist who continues to brush off the rules of watercolor to work in her own way and create unusual and relevant works that make me want to say, "She can't do that!" Because, indeed, she can.

Your Colors Are a Wonderland

Courtney Jordan — Wed, 27 Feb 2013 04:30:00 GMT

Here's a sneak peek at a great upcoming watercolor blog by artist and instructor Robert Reynolds on the importance of color and how personal choosing pigments can be. And after you are done, be sure to check out the new book, Watercolor Unleashed (sounds thrilling, no?) for more watercolor painting techniques. Enjoy!


		Autumn Leaves by Robert Reynolds

Is color important in a work of art? Most would say a loud yes! However, look at the wonderful work of the great, late artist, Andrew Wyeth. His dad, the famous illustrator N. C. Wyeth, was often telling Andrew that he needed to put more color in his paintings. However, Andrew continued with his low-color paintings that have become a landmark in his beautiful work. The feeling that he puts into his work reaches out and grabs one's soul. So obviously, "color" is a personal matter.

For me, my interests in color have fluctuated over the years, and my watercolor painting palette has changed in many ways during that time. For example, I used to include ivory black in my basic palette, but today I rarely use black, mainly because it doesn't produce the lively shadow tones and low-intensity colors that I now create with other pigments. I also rely less on earth colors such as burnt sienna and burnt umber, because they seem too "heavy" in capturing the light and the airy feelings of sky, clouds, fog, and mist.


Lakeside Azaleas by Robert Reynolds.

My basic watercolor palette adds up to about 15 colors, and I do add other colors when I feel the need to do so. But in general, whenever I paint, I simply try to be conscious of which colors are staining colors. For example, at one time I relied on a mixture of hooker's green dark and alizarin crimson when creating the effect of tree foliage. The interplay of both colors did create beautiful foliage. However, the colors seemed to lock themselves into the paper. It was difficult to remove the mixture colors from the paper, which I do quite often.

Because of this issue, I began to use mixtures of blues and yellows to create my own greens. On the whole, however, there's no reason to avoid staining colors. They pose no insurmountable difficulties for experienced watercolorists and can be quite useful when an area needs to be glazed with a second color without lifting the first color in the process. Quite often, for example, I'll use alizarin crimson as a glazing color to unify a number of elements in my watercolor works.

More soon,

Robert

It Is Like a Gift From Above

Courtney Jordan — Mon, 18 Feb 2013 05:13:00 GMT

Working with artists is a lot of fun. Really, I would put nothing before it in terms of what I want to do with my life's work. But sometimes it can be a little like herding kittens, and it can get really frustrating if the artists aren't organized. (But really, that never happens...never.)


Mom Learning to Float by Allison Maletz, watercolor painting. Maletz is one of those artists who keeps a complete and ever-evolving record of all her works.

I guess it is asking a lot to expect an artist to create phenomenal paintings and be a good bookkeeper, so if I had just one suggestion (or plea) for all the artists out there, it would be to have something--a website, a catalog, a blog, or an album--of all your images with information including their titles, media, dimensions, and so on.

Keeping this sort of record helps you as an artist, and it helps the writer, gallerist, museum curator, or buyer you are communicating with as well. For one, an artist can easily sell art online using this basic format of image and info. But it also helps when marketing your art. When I am writing about an artist, I like to get a sense of where their style started and what phases of painting they've gone through. A catalog can really help show that.

Also, doing this means that you have been photographing paintings as they have come off your studio wall, which is something all artists should really do. You spend all the time working on a piece, you want to be able to show it off--not just to the lucky person who ends up buying it but also to the people you network with along the way. This kind of reference shows what you've been doing in the studio all along.


		Two people go on holiday for ever by Ian Francis, mixed media on canvas, 48 x 48. Francis keeps an up-to-date blog of his latest projects.

To me this sounds like such a simple thing, but I know a lot can get in the way of it, so if you have the opportunity to start creating this kind of record of your work, I definitely encourage you to do so. It's the best way to start your art business and can be used as a building block for your it in a myriad of ways.

And if you are an artist working in a professional or semi-professional capacity, or if you are simply ready to treat your art with more of an art-business sensibility, consider a subscription to The Artist's Magazine. You'll find advice and networking tips from practicing artists, insights on how to market and sell your artwork, plus tons of inspiration that will help make your paintings the best they can be. Enjoy your subscription!

He Truly Had the Joy of Sight

Courtney Jordan — Fri, 18 Jan 2013 04:26:00 GMT

It’s quite sad that 18^th-century painter Luis Melendez died poor and relatively unknown and yet he is now recognized as one, if not the, greatest still life art painter of his day. His style and approach as a still life artist breathed new life into a genre that was already well established, and most importantly he did things differently when it came to composing his works. All of which solidify his standing as one of Spain’s greatest artists.


		Still Life with Melon and Pears by Luis Melendez, oil on canvas, 18th century.

Melendez did not in any way scorn the achievements or focus of the still life artists that preceded him. Like Zurbaran and Juan Sanchez Cotan, he knew how to present light effects, texture, and color of the objects in his paintings of still life.


Still Life with Fruit and a Jar by Luis Melendez, oil on canvas, 1773.

What he did do differently was bring those sumptuous fruits, glistening glassware, glimmering copper pots, and crusty bread closer to the viewer in the picture plane. He dropped his vantage point as well, allowing the viewer to peruse the objects from a slightly elevated angle.

These are small modifications and yet they give the viewer a better look at the objects by more fully turning them to the light. The details of texture and light that Melendez adds to the surfaces of the objects makes it seem like they are being held in the viewer’s own hands. The result is everyday objects presented in a monumental way, reinforcing the joy of sight that must have provoked the artist to pursue still life painting with such rigor.

For more still life painting inspiration—and techniques that you can start using today in your own works—explore the newly launched 2012 CD collections from The Artist Magazine, Watercolor Artist, Pastel Journal and Southwest Art. Enjoy delving deeper into the art you love!

Paint What You Love

Courtney Jordan — Thu, 17 Jan 2013 18:02:00 GMT

We're pleased to announce that the Grand Prize winner in the "What Do You Love?" watercolor art contest is Johne Richardson, of Overland Park, Kansas. Congratulations, Johne!

The winning image will be featured alongside the artist's other work in a feature article in the June 2013 issue of Watercolor Artist magazine, which will be available online and at bookstores in late April. In the meantime, you can see Johne's work on his website.

The winners of the competition's first-, second-, and third-place prizes are, respectively, Iain Stewart, of Opelika, Alabama; Elaine Daily-Birnbaum, of Madison, Wisconsin; and Cindy Brabec-King, of Palisade, Colorado. Honorable mentions have been awarded to Misha Kuznetsov, Bev Jozwiak, Tripp Harrison, Sandy O'Connor, Marsha Chandler, Rosa Inez Vera, Laurin McCracken, Patrick Varriano, Carrie Waller and Larry Seymour. All these artists' winning works will be seen in the June issue of Watercolor Artist.

The art contest was judged by Mary Whyte, a well-known artist, instructor and author; Jim McFarlane, the current president of the American Watercolor Society; John Parks, an artist and regular contributor to American Artist and Watercolor magazines; and the Watercolor Artist magazine staff.

Congratulations to our winners and thanks to everyone who entered!

I Hate to Say It, But Geometry Helps

Courtney Jordan — Mon, 17 Dec 2012 04:12:00 GMT

Another slice of my personal humble pie is the fact that I'm pretty bad at math in general and downright horrible at geometry in particular. You'd never ever find me trying to use these skills when making art--or so I thought. But when I was gleaning tips from watercolor artist Law Wai Hin on how to paint flowers, geometry kept popping up.

Flower Arrangements with Lotus by Law Wai Hin, 22 x 30, watercolor painting.

Law's flower drawing process begins with arranging the flowers into a striking composition. The artist starts with a realistic drawing of the flowers as they actually appear in front of him. But after repeatedly sketching it he eventually finds new elements within the scene and from there he adjust his sketches until he's captured the deep thought and feeling he wants to express.

Poppies with Sunflowers by Law Wai Hin, 22 x 30, watercolor painting.

These deeper expressions are often visually manifested through geometry--using shape, size, and relative position of figures to create the depth and clarity that exists in each painting. For example in Flower No. 1, color and texture are what I see first. The colors are so lush and appear to almost vibrate. The rendering of the flowers is so unusual that I want to get as close as possible to the surface of the painting to see how it was done.


Flower No. 1 by Law Wai Hin, watercolor painting, 29 1/2 x 41 1/2. Adapted from an article by Austin R. Williams.

But when I start to analyze the painting's composition, I see how the flower vases are positioned in space as if they are marking the path of an arc. But the thick white line that runs parallel to the horizontal edge of the painting complicates the space, perhaps bisecting it, which would mean the space in the painting is vaster than what the artist shows us. The white line also creates a second horizon line, as there is one indicated to the right of the painting about midway up. The two lines together make it seem as though the space in the painting is folding in on itself.

So it seems that in order to learn how to draw flowers, I'm going to have to cozy up to my bad-math past, but if it gets me anywhere near the skill and unique beauty of works like Law, I'd count myself lucky. And every time I read my digital edition of Best of Watercolor, I feel the same way. The magazine features so many incredible artists using unusual methods to get the most out of watercolor, and I'd love to be able to do the same. If you feel like you are on the same path, take a look at Best of Watercolor and see if it is right for you. Enjoy!

Taking That Leap of Faith

Courtney Jordan — Wed, 28 Nov 2012 04:33:00 GMT

Artists who step outside their studios take a leap of faith. When you determine that you are ready to create a plein air painting, you take a chance with lighting, composition, color, and time. All of these are variables that you need to contend with to get your outdoor painting right.

Artist Robin Purcell takes that leap of faith and has been richly rewarded with her plein air watercolor art. Painting outside, she doesn't shoehorn what she finds into what she wants to paint. Instead, she makes magic with what she finds, and this is key to an enjoyable and rewarding plein air painting experience.

Summer Oak by Robin Purcell, watercolor painting, 10 x 12.

For example, in Purcell's plein air painting Summer Oak, the artist observes a scorching hot afternoon when the sun is at its highest, and she sees how the reflected light turns the top leaves of an oak tree deep orange, while its lower branches remain a verdant green. When she walks above a field of wildflowers that still have lush color to them but are surrounded by woody purples and browns of nearby scrub trees, she jumps right in and makes the most of it.

Wild at Heart by Robin Purcell, watercolor painting, 14 x 14.

Painting outdoors can be a panacea if you are feeling constricted and uninspired in the studio, but I remind myself that taking those steps outside means you are playing by Mother Nature's rules. That's more than OK with me, but you have to be open and not take those small and simple gifts of beauty that you see around you for granted. They're the ones that need painting most!

But before I get too ahead of myself on the beauty of the plein air approach, I remind myself that painting is not only a leap of faith; it is also a skill-based enterprise. One of the best places to get foundational painting techniques--as well as to learn more advanced methods for plein air watercolor painting--is in the pages of Watercolor Artist magazine. It is a stellar resource for whatever you want to do with watercolor and will open your eyes to even greater possibilities with the medium. Enjoy your subscription to Watercolor Artist!