Watercolor, Winter 2010

On the Cover: Breakfast Club (detail) by Gordon France, 2004, watercolor, 20 x 28. Private collection. Artist to Artist: Dean Mitchell Modern Masters: Jan Kunz DEPARTMENTS Editor's Note Contributors Noteworthy FEATURES Weekend With the Masters Review
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On the Cover:
Breakfast Club (detail)
by Gordon France, 2004, watercolor,
20 x 28. Private collection.




Artist to Artist: Dean Mitchell



Modern Masters: Jan Kunz

DEPARTMENTS

Editor's Note
Contributors
Noteworthy

 

FEATURES

Weekend With the Masters Review (Available Online)

Artist to Artist: Dean Mitchell
Not one to conform, this artist has stayed true to the subjects and medium he finds most meaningful and become one of the most respected artists in the country.

More Than One Way
by Lynne Bahr
Mark Mehaffey’s career has only benefitted from the wide range of materials and techniques he’s explored.

Watercolor Fundamentals: Backlit Flowers
by Janet Walsh
Attending to the direction of the light is a critical step in creating a dynamic still life. Here’s how to paint a backlit floral setup.

Painting as Performance
by John A. Parks
John Gibson’s invented still lifes allow him to experiment with color, space, and form, with little chance to correct or revise.

Modern Masters: Jan Kunz
by Lynne Bahr
This artist believes that passion, training, and hard work go a long way toward successful watercolor paintings.

Composing the Landscape:  Foregrounds
by Lori Woodward
Nineteenth-century landscape artists have a lot to teach about adjusting the size, shape, color, and placement of compositional elements.

Capturing the Energy of Everyday Life
by Austin R. Williams
Gordon France tells the stories of everyday American life through city scenes full of energy and motion.

Loosening Up With Watercolor
by Karen Stanger Johnston
Working in watercolor helps prevent Jim Riley from getting too tight with his oil-painting technique.

Breaking the Rules
by Linda S. Price
Unhindered by conventional rules, Ratindra Das feels free to explore and take detours on the way to creating the paintings he describes as midway between traditional and abstract.



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