2016-08-01 Watercolor Artist

The Key to 9 Pros Share Their A New Twist on an 4 Must-Try
Painterly Figures Sketchbook Habits Ancient Technique Tools
AU G U S T 2 016
I N S PI R ATI O N • I D E AS • I N STR U CTI O N
watercolorartistmagazine.com
August 2016
features
24
On the Path to Painterly
People
Carol McSweeney keeps her
figure paintings fresh and loose by
doing the compositional work up
front—behind the camera lens and
at her sketchpad.
BY LOUISE B. HAFESH
24 32
Shining Sea to City Street
Dan Marshall opens his sketch-
book and shares a peek into his
creative process, which often starts
with an on-site drawing.
BY MICHAEL GOR MLEY
42
Second Nature
Bill Hook captures the unexpected
beauty of bridges and buildings
under construction.
32 42 BY BRETT ORTLER
50
Drama, Extravagance
and Poetry
Brent Funderburk’s supersized,
supersaturated watercolors begin
with a personal experience and
end with a unique connection to
the viewer.
BY JOHN A. PARKS
50
Watercolor Artist | August 2016 1
August 2016
columns
4 Editor’s Note
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6 Featured Artists artistsnetwork.com/magazine
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BY CATHY JOHNSON artist community
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wetcanvas.com
artistdaily.com
72 Picture This
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on the cover Watercolor Artist (ISSN 1941-5451) is published six times a year
Painterly Figures 24 in February, April, June, August, October and December by
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editor’s note
AUGUST 2016
Editor-in-Chief Kelly Kane

Art Director Wendy Dunning S ketching is the most direct form
of artistic expression. With just
a few simple marks, you can capture
Managing Editor Jessica Canterbury
Senior Editor Beth Williams the essence of your subject. All you
ADVERTISING need is a pencil and paper (although
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jamie.markle@fwcommunity.com envelope will do).
Advertising Team Leader, Fine Art Mary McLane
Whether you use sketches to
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Advertising Specialist Carol Lake
record experiences, work out value
385/414-1439; carol.lake@fwcommunity.com plans and compositions for future
Media Sales Coordinator Barb Prill paintings, or simply to practice your
800/283-0963, ext. 13435;
drawing skills, sketching is the most
barb.prill@fwcommunity.com
important creative habit you can
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make. “Keep a sketchbook, draw anything and everything all day, and
CEO Thomas F. X. Beusse
COO/CFO James L. Ogle make no excuses for lack of time,” says Dan Marshall (page 32). “Every
President Sara Domville single artist I admire keeps an active sketchbook. So do I!”
Senior VP, Operations Phil Graham
And so does Bill Hook (page 42),
VP, Communications Stacie Berger
Newsstand Sales Scott T. Hill;
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who offers a peek into the mind of
the artist in page after page of what
“You can’t
EDITORIAL OFFICES he refers to as his laboratory, a place do sketches
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and keep your
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featured artists
Cathy Johnson Brent Funderburk Bill Hook

cathyjohnson.info brentfunderburk.com wghook.com
Artist, writer, teacher, naturalist, traveler and Brent Funderburk (page 50) has taught paint- Bill Hook (page 42) is an architect and inter-
wanderer Cathy Johnson (page 59) says making at Mississippi State University (MSU) since nationally recognized illustrator. Throughout
ing art “is like breathing.” She’s the author 1982. A William L. Giles Distinguished Professor, his illustrative career, he worked on projects
of 35 books, including Artist’s Sketchbook he has exhibited in more than 30 solo shows with national clients such as the Smithsonian
(North Light Books, 2016), which releases in and 70-plus national/international shows. Institute, Yellowstone National Park and
mid-July. She offers online art classes and He was the official artist for the 2010 USA Mount Vernon, Va. He uses watercolor to
spends as much time as possible in nature, International Ballet Competition and won MSU’s explore the more industrial and transitional
art supplies in hand. 2016 SEC Faculty Achievement Award. elements of our environment.
P H OTO : TO N Y W H I T E
Carol McSweeney Dan Marshall Liz Walker

carolmcsweeney.com danmarshallart.com lizwalkerart.com
Award-winning artist Carol McSweeney Dan Marshall (page 32) is an award-winning Liz Walker (page 12) is an acrylic marbling
(page 24) is compelled to portray the watercolor and tattoo artist. A graduate artist who paints and teaches workshops
beauty and uniqueness of the human spirit. of the Connecticut Institute of Art, he’s in Portland, Ore. She received her bach-
She’s a signature member of the American also studied under renowned watercolor elor’s degree in art from Trinity University
Watercolor Society, Watercolor West, Western artist Joseph Zbukvic. Along with his wife, and is a signature member of the National
Federation of Watercolor Societies, San Diego Madoka, and French bulldog, Mogu, he Watercolor Society, Northwest Watercolor
Watercolor Society, Northwest Watercolor recently moved to Denver, where he opened Society and the International Society of
Society and Montana Watercolor Society. Atelier 71, a studio gallery and tattoo space. Experimental Artists.
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on a daily basis. With this in mind, and mobilize creative advocates to Hampshire and Iowa voters to
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launched ArtsVote2016, a campaign tion policies for the nation,” she said. at campaign events. In August 2015,
to help voters ask candidates the “We hope to convince candidates the organization held the fi rst-
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Watercolor News & Views
BY J E S S IC A C A N T E R BU RY
“Creativity is
contagious. Pass
it on.” —Albert Einstein
P H OTO : I N T E R N AT I O N A L A R T M AT E R I A L S A S S O C I AT I O N
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Two new books just hit the top of our must-read list: Betsy Dillard
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The page features detailed informa- The latest in the Splash: The Best of Watercolor series, Splash 17:
tion on each candidate’s history and Inspiring Subjects ($37) boasts 135 full-color images of paintings with
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voting records and platform state- Wolf cites a fitting quote by Colorado artist Kathleen Lanzoni, who’s fea-
ments. The Congressional Arts tured in the volume: “Whatever made you hold your breath or turn your
Report Card, which presents each head the first time you saw it, that is what you should paint!”
state congressperson’s pro-arts Find both books at northlightshop.com.
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donated to the National Gallery of Art by Paul Mellon.
Washington showcases 100 works of art—water- by Vincent van Gogh; colorful visions
“There is no intellectual or emotional sub- colors, pastels, drawings, prints and of Parisian establishments by Henri
stitute for the authentic, the original, the illustrated books—selected from the de Toulouse-Lautrec and Jacques
unique masterpiece.” –Paul Mellon 1,000-plus he donated to the Gallery, Villon; cubist compositions by Pablo
Because renowned philanthropist among other places. The exhibition Picasso, Paul Klee and Georges
Paul Mellon (1907-1999) was one of conjures Mellon’s intimate relation- Braque; and more.
America’s great art collectors and ship with watercolors, portraying Also planned as part of the 75th
remains one of the National Gallery American scenes by Winslow Homer anniversary celebration are a variety
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because the Gallery is celebrating its by Jean-Auguste-Dominique Ingres a new published history of the
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tion. In Celebration of Paul Mellon George Bellows; abstract landscapes September 18. nga.gov
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The Power of Pattern

Push your acrylic paintings to the next level by incorporating
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Yellow Trees, Violet Skies (mixed
media on paper, 10x14) started as e’ve all taken a workshop paper or canvas into a painting is
an acrylic painting of trees on tissue or experienced an aha where one’s artistic skills are put to
paper, which had been first glued to
moment that knocked us from our good use. The method I use to “carve
a paper substrate. A “stone pattern”
was marbled over the painting using safe perches and into a brand-new out” subject matter on my handmade
a water-thinned mixture of violet and approach to our art. That’s what marbled paper is similar to my long-
brown acrylics. After the painting was
happened to me nearly a decade standing approach to watercolor
dry, water-soluble crayon was used to
outline selected trees for emphasis. ago when I took an acrylic marbling painting: I discover and develop my
workshop from a local instructor— subject after I put paint onto paper
and I haven’t looked back since. or canvas. This allows me to explore
While anyone can marble paper, subjects I might not consciously
turning that beautiful patterned select and gives me the chance to
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Red (oil on board) by Britton Snyder, Sam (oil on panel) by Jane Radstrom, Resolve (colored pencil on board) by Jesse Lane, Us (mixed media on canvas panel) by Maureen S. Farrell
r r
All six
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Watercolor
Artist Diluted blue and
green acrylic paints
on one disc
are dropped into
the marbling tray
where they float
on the surface to
create a colorful
searchable marbling “bath.” A

prepared paper or
canvas substrate is
then lowered into
printable the tray to absorb

the pattern.
portable
engage in a bit of creative “what-if.” to any type of paper or canvas as
Best of all, it culls all of my drawing long as it’s strong enough to with-
and composition skills as I work to stand being rinsed in water without
bring the painting to fruition. falling apart. Marbling also can
Given the tools, materials and be done over existing watermedia
techniques required for marbling, paintings, as in the case of Speckled
I recommend that you seek out a Pears (on page 17). Before any discus-
marbling workshop before attempt- sion about how to paint on marbled
ing it on your own. If you’re feeling paper, it’s helpful to understand the
adventurous, there are many acrylic acrylic marbling process.
marbling supplies and introductory • Powdered alum (aluminium
kits available online. sulfate), which bonds the paint to
the paper, is dissolved in water.
The Marbling Process This mixture is sponged onto
Marbling, which traces its roots to each sheet of paper to be marbled,
10th-century China, can be applied and the mixture is allowed to dry.
Easy to use!
Easy to search! try this at home
Easy to take with you Try this marbling technique at home or create a painting using
a marbleized effect. Send JPEGs (with a resolution of 72 dpi)
wherever you go! of your finished painting to wcamag@fwcommunity.com with
“Creativity Workshop” in the subject line. The “editor’s choice” will
For more information, visit receive a subscription (or renewal) to Watercolor Artist. The entry
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r r
1A 1B 2
3 4A 4B
a marbled still life

Step 1: Speckled Pears began as a Step 2: As the paint droplets Step 3: I evaluated my marbled
cadmium orange/pyrrole red acrylic spread in the tray and formed a canvas to determine my subject
underpainting of a figure on canvas stone pattern, I lowered the canvas matter. The round shapes reminded
that I’d abandoned (1A). In response into the tray. To my delight, the can- me of rocks and then pears. I used
to the underpainting, I chose to use vas’ orange “underglow” provided a water-soluble crayon to draw
turquoise, white and red acrylic a beautiful backdrop for the red/ various sizes and shapes of pears,
paint in the marbling bath (1B). white/turquoise marbled pattern. overlapping them slightly.
• A thick liquid, referred to as size, • Several colors of diluted acrylic Various combs and rakes also
is made by mixing powdered paint (1 part professional acrylic may be run through the colors to
carrageenan (a type of gelatin paint to 2 parts water) are make more intricate patterns.
derived from seaweed) in a sprinkled onto the surface of the • A sheet of alum-treated paper is
blender with water and refriger- size using plastic broom straws gently laid onto the surface of the
ating it for at least 12 hours. bound with rubber bands to form size to absorb the floating colors.
• A gallon of sizing is poured into a a ½-inch bundle. The paints float Only one print can be made at
shallow tray that’s slightly larger on the surface because they’re a time. The paper is lifted out,
than the paper or canvas. (A plas- lighter than the thickened size. rinsed with water and hung to dry.
tic food service tray works well • A pointed wooden stick is used to • The marbling tray is skimmed
for this purpose.) stir the floating colors if desired. with old newsprint to remove any
Speckled Pears (acrylic on canvas, 18x24) began as an abandoned figure painting, but thanks
to the marbling process, it took on a dynamic new identity as a still life painting.
Step 4: I applied red and violet fluid

acrylics in layers and “negatively”
painted around the images (4A).
I also applied acrylic onto some of
the pears to enhance the turquoise
and orange stone patterns (4B).
remaining paint in preparation for because of the time required for

the next application of paint. preparation and cleanup.
I prefer to marble outdoors in mild It takes some practice to hone
weather under a covered area so one’s marbling skills, but the
that the paints in the marbling tray rewards are well worth it. To this
aren’t exposed to too much direct day, I still feel a rush of excitement
sunlight or humidity, but I’ve also when I pull the paper off of the
marbled indoors at my kitchen surface of the tray to reveal glorious
counter. Regardless of locale, I colors and patterns. Even my so-
marble 20 or more substrates at a called “mistakes” have the potential
time in an all-day marbling session to become interesting paintings.

studio staples
BY J E S S IC A C A N T E R BU RY
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Prairie Hills by Karen Kinder (oil on canvas, 24x36), Blueberry Club by Elizabeth Kenyon (pastel on paper, 10x12)
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Visit NorthLightShop.com.
meet the masters
Gilded Age Glory

Capturing ornate interiors, Walter Gay preserved visions
of a privileged world at the turn of the 20th century.
W alter Gay painted interiors

of his own home as well as
those of socialites, writers and oth-
Gay’s patrons commissioned the
interiors to record their privileged
existence. But, although he too had
made her a true partner in his voca-
tion. Matilda called his paintings
poèmes d’intérieurs for their portrait-
ers among the late 19th- and early a reverence for homes with extrava- like approach. Her diaries reveal
20th-century elite. In these scenes gant furnishings, he didn’t paint a her well-defined opinions about art,
of cherished spaces, the absence of room’s furniture, china or wall hang- Gay’s career and their friends. Edith
figures is intentional; the artist’s ings in the realist style of the time. Wharton, Henry James and John
aim was to capture the spirit of the Instead, he painted his impressions Singer Sargent were just some among
empty rooms rather than the people of a room. He arranged or removed their inner circle, many of whose
who inhabited them. items to enhance the design of the homes—and vacation properties—
space, using watercolor to introduce Gay painted.
light and soft lines.
House Beautiful
Gay’s Paris Elsie de Wolfe, considered the
Gay grew up in New England, exiting first real interior designer of New
a business career at 17 to paint florals. York City, lived a few homes away
Three years later, he left for Paris from the Gays. She was interested
to study with the famous portrait in creating a continuity of design
painter, Léon Bonnat. He began his throughout a home, with which Gay
art career in the 1880s as a naturalist was equally obsessed, gravitating
painter, but shifted his subject mat- toward the 18th-century Rococo
ARCHIVES OF AMERICAN ART
ter around the time he met his future style. Some of his most famous
wife, Matilda Travers, in 1887. and revered commissions were the
Matilda was a significant sup- three paintings of the interior of the
port to Gay’s work life. An heiress Frick home, now know as The Frick
to her New York attorney father’s Collection in New York City.
investments, she was interested Ultimately, the Gays spent most
in 19th-century painting, interior of their time in France, where they
Walter Gay (American, 1856–1937) ca. 1890,
photographer unknown design and domestic details, which were able to live well due to the
January 22, 1856 1876 1877 1888 1889 1894

Born in Hingham, Leaves to study Studies with Is awarded gold Marries Matilda Receives Legion
Mass. painting abroad Léon Bonnat for medal at Paris Travers; is invited of Honor Medal
in Paris three years in Salon to exhibit at the
Montmartre Paris Exposition
Universelle
BY C A R R I E O E D I N G
T H E M E T R O P O L I TA N M U S E U M O F A R T / A R T R E S O U R C E
Walter Gay rev-

eled in depicting
delicate textiles,
ornate furniture,
decorative mirrors
and other charac-
teristics of Rococo
design, as seen in
Interior (water-
color, gouache and
graphite on off-
white wove paper,
181⁄16x219⁄16).
artist’s success and his wife’s for- paint through the end of his life.
tune. They maintained an apartment
in Paris and a château in the coun- CARRIE OEDING is a writer and
tryside, where Gay would continue to English professor in West Virginia.
1904 1914 1920 1926-28 1934 July 15, 1937

Sells first interior Exhibits at The Paints interiors of Commissioned to Elected to Dies in Paris
to the French Art Institute of Edith Wharton’s paint three rooms American
State Chicago home, Pavillon in Helen Clay Academy of Arts
Colombe Frick’s family’s and Letters
home in New York
City

ON THE
Painterly
PATH TO
PEOPLE
Carol McSweeney’s intimate portraits convey her fascination
with the human spirit and the unique beauty she observes in
her subjects.
BY LO U I S E B . H A FES H
C
arol McSweeney had never taken an With this in mind, McSweeney began to
art class, but as a counselor working amass a collection of art and craft supplies
with children with special needs to encourage that communication. “At some
18 years ago, she’d often found that “doing” point, it occurred to me that I should learn how
was much more effective than “talking” when to use some of the materials to better guide
it came to helping kids communicate their students who wanted to express themselves
feelings safely and creatively. “Over time, in greater detail,” she says. She took a begin-
I discovered that paint, clay, paper and various ner watercolor course at a community college
drawing tools opened doors to expressing in Montana, and in the process, found not only
and understanding emotions about difficult her passion for the medium, but a pathway to a
matters,” she says. new career.
“I’ve become acquainted with the incredible elder in Telling His Story [watercolor
on paper, 20x14], and I have enormous respect for him,” McSweeney says. “My
goal was to produce a painting that communicates the richness of his personality.”
Simply Mariah
(watercolor on paper, Learning the Hard Way year, I realized that I’d found what I was sup-
15x15) features a Applying for and attaining a sabbatical to study posed to do. Even though I had minimal skills,
Washington model art therapy in Australia, McSweeney signed I’d never felt more ‘right’ than when
McSweeney has
worked with for two a one-year lease on an apartment in St. Kilda, I was painting.”
years. “The balance packed her belongings and headed off for what By the time McSweeney returned to the
of her glance, her she imagined would be “an intensive academic United States the following year, painting had
arms and her hair
was just irresistible experience.” It would turn out to be that and so become an integral part of her world. Since
to me.” much more. then, the artist, who has pursued her passion
“Two weeks after arriving in Melbourne, a through continued study and “putting miles
political issue arose at the school, and the art on the brush,” has become a more confident
therapy program was closed,” says McSweeney. painter and has accrued national recognition
Although thrown by the news, she tackled the for her work.
predicament head on. “After the initial panic
subsided, I found a talented art therapist who From Concept to Completion
taught theoretical use of art in therapy and Describing her painting style as “carefully and
narrative art, and I also signed up for some sometimes deceptively loose,” McSweeney
community art classes,” she says. “During that works hard at maintaining that illusion.
Knowing Only Her Truth (watercolor on paper, 11x17) was done from a photo taken between the model’s poses when she was deep in thought
about a personal matter. The mottled background adds an air of mystery.
“Although my work sometimes looks as if I’ve

been splashing paint randomly onto the paper, I
do a lot of thinking before I apply my brush, and artist’s toolkit
I also break down my process into several steps.” Paper: Arches 140- and 300-lb. cold- and hot-pressed
An avid photographer, McSweeney begins
Palette: plastic sealable palette
the creative process by spending hours looking
through a camera lens for inspiration and think- Brushes: Raphael Kolinsky 8404 sable brushes, typically Nos.
ing about how to bring her ideas to fruition. She 8 and 16 rounds. “I’ve recently been experimenting with Silver
then uses Apple’s Aperture software to crop Brush’s Black Velvet line of brushes as well, and find them to
and edit several prints in both color and black be very durable,” McSweeney says.
and white. “This often involves trying different
Paint: Winsor & Newton’s French ultramarine blue, Antwerp
background colors, patterns or ideas, as well as
blue, burnt sienna, raw sienna, raw umber and perma-
possible figures that might work for my inten-
nent alizarin crimson; Daniel Smith’s manganese blue hue,
tion,” the artist says. Ruminating on the output
quinacridone rose and other quinacridones for their unique
for a few days helps her to formulate a concept.
transparency. “The longer I paint,” the artist says, “the easier
Another helpful practice is to draw several
it is for me to mix the colors I want from a few paints, which
versions of a composition in various sizes,
brings greater overall unity to my paintings.”
often painting from a number of reference
photos before deciding which one to use. “It’s
a slower process,” she says, “but I find it works
best for me, because I can experiment with

Saddlemaker
(watercolor on different approaches and feel less restricted forms and subjects, and either begin with a
paper, 13x12½) than if I’d just had one piece in front of me. light glaze of watercolor using a large brush or,
features rich,
Once I’ve decided on the foundation of my more recently, a pour of watercolor paint on a
reddish-browns
to emphasize the work, I’m thrilled and ready to paint away.” wet sheet of paper. Working from light to dark
color of the rusty When it’s time to paint, McSweeney uses at values, I try to keep all areas of the painting at
steel, the horses
least three glazes. “The intention of the work a similar level of completion, and usually alter-
and the land.
determines the approach I use,” she says. “I nate between No. 8 and No. 16 round brushes
continually think in terms of color and light, for an entire painting.”
McSweeney primar-
As she works, she squints and looks for began to look directly into my eyes,” she ily used four colors
for Push (water-
dominant values, shapes and lines to support recalls. “Neither of us spoke, and I had to
color on paper,
the development of the image. Near the end of remind myself to keep drawing and not get 11x9): Winsor &
the painting process, she puts her work away lost in the intensity of his gaze. Finally, after Newton’s French
ultramarine blue,
for a few days and then returns with a fresh thanking the man and offering him my regular
burnt sienna, per-
perspective. “I almost always spend a little model fee, he responded: ‘Little did I know manent rose and
more time at that point, adding some value or when I awoke this morning that I’d become raw sienna.
correcting a small bit here or there,” the artist immortalized. You’ve taken the time to see While traveling,
says. “Thankfully, I’m finally more effective at me.’ It was an incredibly emotional moment the artist observed
a man whose
warning myself to stop before I overpaint.” as I realized, once again, that so many people
face seemed to
living on the street are avoided, disdained tell the story of
Taking It to the Streets and ignored.” While bearing witness to that years of strife.
In History Upon
McSweeney’s fascination with the human sentiment, the painting also transcends it.
His Face (above,
spirit is clearly evident in her intimate Mesmerizing in its intensity, it practically left; watercolor on
portraits, and in particular, her poignant demands interaction. paper, 22x14), she
attempted to con-
portrayals of society’s “unnoticed people.” The Sharing some of the challenges faced in
vey her emotional
artist says she’s passionate about getting to creating that effect, McSweeney points out response to him
know her subjects. “It’s educational for me that, in particular, the space between her through the deliber-
ate use of muted,
to meet and hear about their lives and then subject’s eyes was wide, forcing her to decide
muddied paints.
create a piece that I hope will express what whether to fully represent that characteristic.
they’ve shared with me.” “In a photograph, features that are atypically
One such painting that speaks volumes
is Push (above, right), which portrays a street See more of Carol McSweeney’s compelling
person McSweeney sketched while he played portraits at artistsnetwork.com/medium/watercolor/
a drum. “As time passed, he stopped and carol-mcsweeney-watercolor-portraits.
“I created Notes to
Himself [watercolor
on paper, 20x14]
from a reference
photo that I took
on a street corner
in the Northwest,”
McSweeney says.
“The musician
was sitting in a
corner, completely
immersed in his
music.”
proportioned are believable,” she says. “In After tackling the bright colors in the cloth-
interpretive work such as a painting, the ing and jewelry, McSweeney completed the
viewer may see uncomfortable proportions background by using a gray mix of French
as a lack of mastery of skill; I decided that ultramarine blue and burnt sienna to support
the facial proportions were important, and the figure.
this piece is about his gaze locked with mine. Regarding her painting process, McSweeney
I began by painting his eyes fi rst, and then says that the transparent glow of well-applied
my other darks, setting up the harsher colors, watercolor on white paper is unmatched by
shadows and scarring on his face.” any other media—and that the effects that can
“Although my work sometimes looks as if I’ve been
splashing paint randomly onto the paper, I do a lot
of thinking before I apply my brush.”
The kindness and wisdom apparent in this man compelled McSweeney

be created are seemingly limitless. “Its very to paint Benevolent Elder (watercolor on paper, 12x15). Although she
nature has a certain unpredictability, which used bright paints and a “busy” environment, she was intent on
communicating the look in his eyes that spoke volumes about him.
lends itself to a ‘partnership’ in working with
the medium and in encouraging creativity in
the very use of it.”
LOUISE B. HAFESH (louisebhafesh.com and painters

portal.com) is an award-winning artist and arts
writer based in New Jersey.

SHINING SEA to
CITY STREET
Manipulating scale and composition, Dan Marshall
captures sweeping views of the American landscape.
BY M I C H A E L G O R M LE Y
P
erhaps because our techno world has in turn has inspired a re-evaluation of past art
gotten smaller and we’re exposed to movements and their influences and lineages.
cultural diversity on a daily basis, we Before we shine a light on Dan Marshall, we
live in an age that’s distrustful of oversimpli- must first look at artists of the past, some for-
fied historical—and art historical—narratives. A gotten and others overlooked, to consider the
sequential and linear account of art’s progres- various representational movements that took
sion from the dawn of Europe’s Industrial Age place in the first half of this century, particu-
through post-war America to its culmination in larly the American Scene or Regionalist art of
formalist abstraction no longer rings true—or at the 1930s. The California Style played a key role
least doesn’t seem representative of the whole in this movement and made contributions that
story. Our present art worldview appreciates a had nationwide impact. To the early California
wide variety of contemporary practices which scene painters, watercolor was an important
Marshall’s compositions are nearly always narrative, but the story is rarely obvious. Like the opening shot of a movie,
the view of the lone figure approaching the curb in Boise Fidelity (above; watercolor on paper, 10x14) invites endless
speculation. In Beach Day (opposite; watercolor on paper, 10x14), midday summer light cuts the scene into two planes—
light and shadow. To create this effect, Marshall clearly separates tonal values, avoids mid-tones and models form with
sharp transitions.

Facing a jumble of
information about a media; its portability and direct painting reflective areas played against the open brush-
subject being painted, methods allowed for a lively expressiveness work and bold color to achieve an overall fresh,
the best approach is to
simplify. In NYC Hustle ideally suited for capturing the dramatic vistas light-filled appearance.
(watercolor on paper, and active lifestyles characteristic of the Pacific
12x19), Marshall indicates coast. Working from the mid-1920s to the mid- Toward a New Regionalism
the buildings with simple
shapes—edges sharper '50s, this group of regional artists worked in a Fast forward to today and the work of Marshall,
in the foreground and large format using bold brushwork and satu- who has been drawing for as long as he can
lost in the mid-ground to rated colors. This innovative approach, deemed remember. His father was an accomplished
imply atmosphere and
depth. “modern” at the time, evinced a break from an draughtsman, and they often drew together.
earlier generation of California watercolor art- “When I was about 8 or 9,” Marshall recalls, “I
ists. The latter, trained abroad or in New York was mesmerized watching my dad draw with
City, adhered to traditional painting techniques, an inspiring ease and finesse. Something stuck
such as completing detailed graphite under- with me and I thought, I want to do that! I’ve
drawings, to achieve a high finish. been drawing ever since.” Marshall eventually
The younger, locally trained group, among attended art school and launched a career as
them Rex Brandt, Phil Dike, Dong Kingman, a tattoo artist. Through self-study and paint-
Barse Miller, Emil Kosa Jr. and Millard Sheets, ing with friends, Marshall began to work in
were interested in scenes of everyday life. To acrylic, pastel and oil. His subject matter was
capture the light and energy of California’s fantasy figures—a surrealist style of “mostly
sunny beaches, rolling farmlands and busy dark and creepy stuff” that progressed natu-
downtowns, these artists painted boldly and rally from his tattoo work. In the fall of 2011,
directly, with little preliminary pencil sketch- Marshall began working with watercolors
ing, and often en plein air. Given Southern and was immediately taken by the sensitivity
California’s Mediterranean climate, these art- of the medium and the atmospheric effects
ists worked outdoors year round. Lastly, they he could achieve. Unlike his earlier explora-
mastered the technique of preserving areas tions with acrylics and oils, which reinforced
of white paper to indicate highlights; these Marshall’s surrealist tendencies, his foray into
Tradition dictates
that landscape
compositions call
for horizontal for-
mats, while figures
do well in vertical
formats. In Crystal
Cove (watercolor
on paper, 19x12),
Marshall upends
the formula to
great effect; the
vertical format
enhances his
bird’s-eye view of
cliff s spilling into
the sea.
watermedia inspired a wholesale shift in direc- In many respects, these works are heir to the
tion—toward an expressive realism. “I feel like California Style. As had the movement’s key
my art career was interrupted,” Marshall says. members, Marshall suppresses details; his
“Although I was a successful artist for almost 25 overall treatment of form is broad, and the use
years, I then embarked on a second art career of strong contrasts suggests bright sunlight. For
in a different type of market.” example, the figures in Beach Day are rendered
Beach Day (on page 32), Crystal Cove (above) as silhouettes—their cast shadows similarly
and Boise Fidelity (on page 33) exemplify a simplified and stark against the reflective sand.
modern handling of transparent watermedia. Millard Sheets himself would no doubt cheer

the masterful preservation of white paper to
indicate the cresting swell heading into shore.
The overall effect feels hazy and hot.
artist’s toolkit
Watercolors: Winsor & Newton, Holbein and Daniel Smith Storytelling, Cinema Style
Marshall achieves a broad panning sweep in
Brushes: Escoda and Isabey
his city-, water- and landscapes; the composi-
Paper: St Cuthberts Mill Saunders Waterford 140-lb. and 226- tional staging is highly stylized, abstract and
lb. rough. “The softness of the surface compared to other near-cinematic—calling to mind long opening
brands allows for a mixing of paint directly on the surface of shots in movies that are meant to imply a nar-
the paper that has no equal,” Marshall says. rative or set an emotional tone. With Marshall,
the script takes a decided noir turn. While at
Misc.: Holbein folding palette and a plein air watercolor
first glance his deft handling of watermedia
painting box that Marshall built based on a design by Joseph
imparts a tone of lightness, closer inspection
Zbukvic; it fits in the overhead bin on any airplane, so he
reveals that his surrealist tendencies are still at
doesn’t need to check it.
work—they’ve simply matured from an adoles-
cent-like fi xation on horror to a more genuine
and subtle grappling with the sublime.
He achieves this potent quality by manipu-
lating scale and composition. The viewer is often
confronted with large expanses of space, as in
the flowering fields in Checking on the Vines (on
page 40) or the broad avenue in NYC Hustle (on
page 34), leading to a sense of isolation. In addi-
tion, by keeping figures proportionality smaller
in relation to their surroundings, he diminishes
the power of human presence—and in some Marshall generally suppresses details in favor of atmospheric effects—an ideal
instances, like Balboa Twilight (above), leaves the use of watermedia, which can be applied in broad washes. In New York Minute
(watercolor on paper, 19x9), he further heightens the sense of weather conditions
human form out altogether.
by employing a limited palette; we believe we’re in the city on a wet, gray day.
Offering a needed color relief from the gray, Marshall punctuates the gloom with
Making It Work Out-of-Doors spots of yellow used to indicate cruising cabs.
Similar to his California Style predecessors, A good measure of artistic skill is the ability to re-create a time of day convinc-
Marshall prefers to work directly from his sub- ingly. To represent the day’s waning light in Balboa Twilight (opposite; watercolor
on paper, 12x19), Marshall keeps his tones in close range and blurs his form
ject—meaning there’s a strong perceptual and
modeling. The dusky pink sky completes the effect.
experiential component to his process. Though
he generally listens to music when he works

sketchbook sneak peek
Marshall notes that by taking the time to draw a scene,
he becomes more conscious of what attracted his
eye in the first place. He would lose that inspiration if
he just snapped a photo and went on his way. These
pages from his sketchbook offer a glimpse into his
creative process.
Marshall is able
to get a scene
down fairly rapidly
and achieve a
sense of light and
depth by allowing
the paper to show
against large tonal
Drawing objects dead-on, instead of at an angle, can make for a masses, as he
static composition. In Airport (watercolor and graphite, 8x6), Marshall did in Los Olivos
gets in some movement with the freely drawn runway markers. (graphite, 8x6).
Similar to using a limited

palette—with the under-
standing that the mind’s
eye supplies the missing
color—Marshall focuses
his eye and hand on
the horse’s and rider’s
heads in Dressage in
France (graphite, 8½x11).
The gestural contrast
is the subject of the
drawing rather than a
detailed accounting of
Linear perspective offers an expressive
equine anatomy.
compositional device. In Horse and Rider,
Huntington Beach Equestrian (graphite,
8x6), the back-to-front view of the horse
offers a strong diagonal and implies
pictorial depth.
Color is a highly subjec-
tive element in art.
Marshall’s sketches
often employ a minimal
palette—in the case of
Katz Deli (watercolor
and graphite, 8x11), a
range of grays and an
earth red. Yet we’re
satisfied with what
appears to be a lifelike
range of color and hues;
the image inspires our
mind’s eye to imagine.
One key to dynamic compositions is strong If you squint while looking at Bryant Park Marshall is best at expressive economy; in
contrasts. Sometimes Marshall accomplishes this Afternoon (watercolor and graphite, 8x6), Harbor Barber Greg (watercolor and graph-
tension with opposing tones and shapes as in you’ll see that Marshall is careful to keep ite, 8x6), he suppresses details to a few basic
Bryant Park Afternoon (at right). In Osaka Crepe pictorial elements massed together. The shapes and tones. Likewise, the simplicity of
Stand (watercolor and graphite, 8x6), he creates umbrellas, benches, figures and shadows the figures—the tilt of the customer’s head,
contrast with the two sketched figures—the left become one shape—a dynamic graphic the hand gestures of the barber—all suffice
figure representing stillness and restrained poise, element that lends the work a strong sense to tell the story.
the right figure, potential action. of design.

two views
Marshall often returns to his sketchbooks when
looking for inspiration and subject matter to paint.
Quickly noted during an afternoon drive in the
country, Temecula Wine Country (a 4x6 sketch), has
inspired three large-scale works, including the two
shown below.
The star of Westerly Breeze (on the left; water-
color on paper, 15x20) is the flowering field, rustling
in a summer breeze. To emphasize the field’s
expanse, Marshall gently models the slope toward
the viewer and otherwise suppresses details in the
foreground.
By moving the fence posts in Checking on the
Vines (on the right; watercolor on paper, 10x14),
Marshall alters the dynamic of the composition and
the path the viewer’s eye will follow. In this instance,
the focus of action moves to the clearing on the right.
in his studio, he shuns headsets when working I’ll work up a fuller developed piece.” Both his
outdoors. The quiet helps him connect to the sketchbook studies and plein air paintings
environment. Westerly Breeze (above) captures are used as reference to construct larger-scale
this quality; you can almost hear the wind. Like works in his studio. He supplements these
many of his finished pieces, Westerly Breeze reference materials with photos he takes while
began as a watercolor sketch. “I’ll walk around working on location.
and around and around … all over the city or On-site, Marshall adheres to a fairly consis-
country before deciding on a subject,” he says. tent three-stage process to develop a painting.
“If I come across a scene that speaks to me, I The first wash establishes two planes, one for
take the time to either create a small sketch- the sky and one for the ground. This stage also
book study or, if I’m out with my painting box, establishes the color key for the painting and
creates a sense of depth. Next, he situates the
See more of Dan Marshall’s unique perspectives on the largest compositional shapes—a step he refers
landscape at artistsnetwork.com/medium/watercolor/ to as “staging.” When he paints on location, or
dan-marshall-watercolor-landscapes. in his studio from reference material, he moves
“Great paintings, regardless
of subject matter, are
essentially stylized and
abstract compositions.”
things around. “I don’t just copy,” he says.

“I make decisions on composition and design.
I strive for a certain level of elegance and
sophistication. If I feel the painting is lacking
that elegance or sensibility, I’ll abandon it and
paint it again right away, and try to make it bet-
ter.” Given this effort to alter motifs to achieve
a personal expression, Marshall avoids the
label plein-air painter. “With that group of art-
ists,” Marshall explains, “the overarching aim
is to paint whatever’s there in front of them—
exactly as it appears. I find that approach lacks
intent or expression. Great paintings, regard-
less of subject matter, are essentially stylized
and abstract compositions.”
A New Home
Marshall is in the process of moving to Denver
from New York City to open a new painting stu-
dio. Called Atelier 71, it will sport a fashionable
industrial rustic look and have enough space
for private tattoo sessions, workshops and
painting classes. Denver seems like a logical
destination for Marshall; its emerging down-
town district offers romantic cityscapes and its
close proximity to the Rockies affords endless
breathtaking vistas—all begging to be painted.
“Ultimately, my studio is the world,” says
Marshall. “There’s nothing more important to
me than painting outdoors in different cities or
countries, experiencing things firsthand. The
more you paint, the more you learn. Painting
and learning from Mother Nature is the best
way to do it. Oh, and my advice to art students
is to keep a sketchbook, draw anything and
everything all day, and make no excuses for
lack of time. Everyone gets the same 24 hours
in a day. Every single artist I admire keeps an
active sketchbook. So do I!”
Similar to New York Minute, Marshall employs a tight verti-
cal format in Road to Mom’s (watercolor on paper, 15x5)
to heighten the narrative impact of the work’s primary MICHAEL GORMLEY is a painter and writer based
compositional element—a long uphill road stretching into
in New York City. He’s also the exhibitions and
the distance. The sense that this is the last leg of a long
drive is enhanced by the figure on the far right inching content branding curator for Portraits, Inc., and
toward the peak of the hill. manages its New York City gallery.

Bill Hook draws on his past career in
architecture to portray the uncommon beauty
Se d
in often forgotten urban structures.
NATURE BY B R E T T O R T L E R
B
ill Hook eschews stereotypical water- Nonetheless, Hook’s fine art bears little
color imagery, filling his work instead resemblance to the work he produced as an
with images of grain elevators, bascule architectural illustrator. In many respects, his
bridges and structures made of concrete, rivets career as a fine artist is almost the inverse of
and steel. His paintings reveal the gritty grace his former day job. As an illustrator, Hook was
of these often overlooked forms, and the beauty expected to show every detail of an edifice and
inherent in the chaos of our ever-changing to depict it in an idealized, sunny environment.
urban world. As a watercolorist, Hook now finds himself able
An architect for 15 years, and an architec- to look past the details of the physical frame-
tural illustrator for 30 more, Hook is familiar work and see the spaces and wedges of light
with his subject matter, in part because he surrounding a building. If seen from the right
spent a good deal of his life designing and viewpoint, he says, they can leap out almost as
illustrating similar forms. Over the course of vividly as a bolt of lightning, as shown in his
his architectural career, he rendered all sorts of painting Scary Stuff (on page 48).
sites and structures, including a massive water- According to the artist, there’s much to see
color aerial view of Mount Vernon—the site of in such forgotten places, specifically “the chaos
George Washington’s home and plantation in and the mess” that’s essential to maintaining
Virginia—which now hangs in the interpretive our urban environment. Buildings under con-
center on site. struction, for example, provide “light shining
Going Up (watercolor on paper, 21x14) celebrates the energy of construction. The patterns of light at the base emphasize
the growing strength of the structure as it rises.

through the different floors and scaffolding … All Roads Start In, or Near, Rome
and all this produces a dynamic quality that While he had some training in drawing during
will never be there again [see Going Up, on page his architectural schooling, Hook’s watercolor
42],” he says. In a literal sense, Hook is an urban skills are mostly self-taught and something he
historian; he’s painting subjects that people developed after being inspired by many great
will mostly never notice or ephemeral scenes illustrators during his work as an architectural
never to be seen in the same light again. The illustrator. He spent much of his career painting,
artist himself finds that when a building is torn but Hook didn’t consider himself a fine artist,
down, he quickly loses memory of its existence, per se. He traces his entry into the fine art world
unless he has recorded it in some way. back to 2007. That’s when he received a fellow-
ship for two months in Civita di Bagnoregio,
Italy, a tiny village with few inhabitants and no
vehicles. As Hook describes it, it’s an isolated
artist’s toolkit town perched atop a volcanic plateau, some
Paper: Arches 140-lb. cold- or hot-pressed 75 miles from Rome, filled with tourists by day
but almost entirely vacant at night.
Sketchbook: Bee Paper Aquabee Super Deluxe
After decades of constant deadlines and
Paints: Daniel Smith: violet, undersea green; Winsor & requests for renderings, Hook was about as
Newton: Indian yellow, yellow ochre, Naples yellow, raw umber, far away from that world as he could get, and
quinacridone burnt orange, pyrrole orange; Holbein: ultrama- he was finally able to paint for himself in an
rine blue, verditer blue, lavender environment conducive to creativity. He was
staying in a well-known architect’s studio,
Brushes: squirrel and synthetic mops; DaVinci Maestro rounds
surrounded by hundreds of volumes of books
in Nos. 6 and 10; Winsor & Newton No. 12 Series 7 round;
about art and architecture in multiple lan-
2-inch hake; Daniel Smith ½- and ¾-inch Aquarelle flats
guages. He needed only to reach out to one
of the shelves to be inspired, or as he put it,
Part of a series, Formwork #4 (watercolor on paper, 12x19)
and Formwork #6 (opposite; watercolor on paper, 12x19)
were inspired by the elaborate, almost elegant, temporary
structures that are created for construction, only to be
replaced by a clean and boring concrete overpass.
“instantly intimidated.” This experience—and

the freedom that came with it—enabled Hook
to begin painting and to see his career in an
entirely new light.
Starting from Sketch

Hook attributes much of his fine art success to
astute observational skills and a dedication to
sketching. He’s never been much of a plein air
painter, as he feels compelled to record exactly
what he sees rather than apply his creativity
to adjust the composition or light while on site.
Instead, he enjoys walking around and explor-
ing his subject, making sketch notes from all
angles (see his sketchbook page at right) and
taking quick reference photos to “get to know
and understand” a structure. “They aren’t
great photos,” he says. “They’re just to help me
understand and remember the subject and its
context. It’s a matter of finding a point of view
or interesting composition, which will have
power, tell a compelling story or capture the
nature of the subject in a way that will engage
a viewer.”
In the evening, he’ll sit down, look at the
photos he has captured and mentally edit the

The thumbnail sketches at left show the artist attempt-
ing to find a means to convey the feeling of majesty of
old tower lift bridges, as he did in Bascule Bridge
Study 2 (above, left; watercolor on paper, 12x9) and
Bascule Bridge Study 3 (above, right; watercolor on
paper, 12x9). Given the complexity of bascule bridges,
it becomes clear why sketching isn’t only beneficial,
but essential, to Hook’s success.
scene, perhaps by swapping the time of day to

late afternoon or changing the weather. He’ll
make some more sketches, playing with per-
spective, mood, composition and “everything
that makes a painting come alive,” including
color, scale or point of view.
Careful use of perspective is one of Hook’s
primary tools, as it creates a point of view that
lets the viewer know where he or she is in rela-
tion to the subject, while also drawing him or
her into the scene and the space. A low-level
perspective can give power to a structural
subject, as in NOLA Series—Plantation (opposite),
while strong patterns of light can show the
view from a distance and draw the viewer into
the piece. He finds a painting more satisfying if
it implies the details with softened edges and
added textures rather than spells them out.
owning the image
The sketching process affords Hook a great deal of and it’s also where the bulk of his artistic thought
freedom. “Once it’s in my sketchbook, I feel that I process occurs. If he has a good thumbnail sketch
‘own’ the image, and I can do what I want with it,” he from which to work—one with energy, interesting
says. According to Hook, nothing freezes his creativ- shapes and values—it typically leads to success. He
ity more than a huge full-color photo—“information finds that if a painting isn’t working, a quick glance
overload”—because he feels obligated to include back at his thumbnail sketch usually will highlight
every detail. Instead, the sketchbook is Hook’s labo- the problem, which is frequently an issue of values
ratory, a place to “plan successes and hide failures,” or contrast.
NOLA Series—Plantation (watercolor on paper, 18x12) was inspired by a visit to New Orleans and the impact of industry on the landscape
along the Mississippi River. Its muted color palette conveys a somewhat somber and reflective mood. Hook’s thumbnail sketches show him
trying out different compositional orientations and recording several different aspects of the scene.
When this happens, viewers create their own

dialogue with the painting and their imagina-
tion fi lls in the blanks. “I’d rather not have “I’d rather not have my
my paintings thought of as a ‘nice-looking
construction site,’ ” he says, “but instead as paintings thought of as a
an engaging painting that happens to be of a
construction site.” ‘nice-looking construction site,’
Setting the Mood
but instead as an engaging
Once Hook has a promising thumbnail sketch
(or a series of them), he begins a piece by
painting that happens to be of
redrawing the sketch freehand at a larger a construction site.”
Scary Stuff (above, left; watercolor on paper, 22x13) grew
out of a series of “thin spaces” in alleys and between
buildings that Hook found interesting. The sketches (at
left) show how he used the wedge of light to tie the two
elements together and capture the narrow canyon-like
feeling of the space between them.
In Granville Island Cement (above, right; watercolor on

paper, 20x13), the artist highlights the complex patterns of
the form and the dynamic quality of the light surrounding it.
size. If he really wants to emphasize detail or

accurate proportions, he may grid it out on
the paper, but he usually doesn’t need to do so,
thanks to his experience as an illustrator. After
a career drawing high-rises and street scenes,
perspective is second nature.
Hook begins painting with a base wash,
which will set the mood and light patterns. He
usually paints in stages, and once he starts
on a piece, he tries to fi nish it in a relatively
short amount of time, generally in a day or so.
Working this way requires “jumping in and
staying focused.” He likens his painting pro-
cess to choreography. “The painting tells me
when things have to be painted,” says Hook.
With Quiet Morning
“When part of the paper has dried just the right When a piece gets “uptight,” he’ll some- (watercolor on
amount, that’s when I have to paint the details. times take a big brush, fl ing water at the paper, 14x21), Hook
proves that even
For other areas, the paper needs to be moist, painting and let it run and pool. Then he’ll something like an
damp or wet, and all those little differences walk away and come back once it has dried. underpass devoid
are important.” “That’s where the magic occurs,” says the artist. of traffic can
provide compelling
This is precisely what he did with Formwork subject matter.
Learning to Let Go #6 (on page 44), a piece that seemed lacking
Eventually, the painting reaches a point where in spirit, but by the next morning, “all sorts of
it’s mostly finished, at which time Hook lets it fabulous stuff had happened.”
sit and ruminates on it. If he’s unhappy with Of course, he doesn’t do this with every
the result, it’s often because the work looks piece, but Hook’s willingness to take such a
too precise or overworked. He recognizes that drastic step is a sure sign of the chasm between
such occurrences are likely a result of his work his former career and his fine art—and a
history and a tendency to make every line fit reminder of how much of success in art is
precisely. To break away from his training, learning how, and when, to let go.
Hook realizes that sometimes he has to let go
and let the watercolor do what it wants. One BRETT ORTLER (brettortler.com) is an editor,
way he does this is by taking a chance—quite author and freelance writer based in Isanti,
a big one. Minnesota.

Brent Funderburk infuses his
paintings with saturated color
and rich complexity to take
viewers on a magical adventure.
Drama,
Extravagance
and Poetry
BY J O H N A . PA R KS
B
A dazzling back rent Funderburk pursues an art of a renowned teacher and watercolorist who
light in Still Light
extravagant, even profligate, color and espoused adventure and creativity in the
(watercolor on
paper, 20x37) dazzle. His enormous watercolors drip medium. “Reep was an iconoclast who
creates an almost and flood in rivers of supersaturated hues, demanded bravura mastery, dynamic composi-
religious sense of
while forms are modeled to almost psychedelic tion, chromatic power, an emotional tone poem
drama reinforced
by enriched color. intensity. The light is incandescent, fracturing in every work and novelty—all with the range
shadows into prismatic arrays of translucent and depth of oil painting,” says Funderburk. “It
On previous pages:
Funderburk uses a primaries. Subjects—ranging from paint tubes was never ever a sweet or lightweight thing to
still life watercolor and flowers to dancers—float, fly and dissolve him, or to me.”
as a collage
in whirlwinds of paint handling. Everything is This embrace of a muscular handling of
element in Beauty
Is Not Enough up in the air: the paint, the viewer, the entire watercolor soon brought to light an inher-
(watercolor and enterprise. It’s all very risky and exciting, it’s ent confl ict in the art of painting; while
papier colle on
certainly excessive, and it carries with it a cer- allowing the medium to have its own way,
paper, 25x40).
tain poetry of affirmation. Funderburk also seeks to control it. The artist
puts it this way: “I believe in the immediate,
Controlling the Uncontrollable graphic presence of the Japanese design idea
Funderburk studied at East Carolina University of notan, while allowing watercolor to wan-
School of Art, where he came under the influ- der endlessly into digressive realms of the
ence of Edward Reep (American, 1918-2013), un-figure-out-able.”
The Japanese concept of notan is one in
which light and dark areas are balanced in a
design. More broadly, it’s a concept of dynamic
balance in both art and nature. Funderburk
subscribes to this desire for order while
simultaneously embracing the inherently
unpredictable and open properties of watercolor.
“This battle between instant, chiaroscuro com-
The near-symmetry in
prehension and unknowable mysteries wages It’s fascinating that complex experiences settle Caught (watercolor on
on,” he says. “Artist Robert Henri [American, into shapes, songs, dances; composition is a paper, 25¼x14) is broken
1865-1929] referenced it best perhaps, in my miracle.” Painting, then, is a way for the artist by a long stalk coming
in from the top right of
favorite sentence in my favorite book, The Art to find forms that share his experience. the composition.
Spirit, when a student caught him pontificating The practical task now begins. “Using my
‘infinite simplicity.’” photos and small drawings made from life,
I build montages, and I often paint on and then
Embracing the Experience photograph, redraw and re-photograph these
For Funderburk, making a painting begins with to make a master reference,” says the artist. “I
an experience. “Mostly, I walk and see,” he says. may conjure 10 to 15 compositions on the way
“Experiences rather than pictures interest me. before beginning a series.” After stretching

“My paintings couldn’t hold what I saw. It was and still
is a staggering, startling world of iridescent gifts and
tricks that no one has yet been able to explain to me.”
Two images are

combined for either Arches 260-lb. rough or cold-pressed Instead, I believe in the strata of a theme color,
poetic effect in 25½x40-inch paper on a large board, he draws with counter-themed variations, and then,
When My Ship
a grid on his master reference and one with ‘everything else.’”
Comes In (water-
color on paper, the same proportions on his paper. He then In addition to watercolor, the artist also may
24x30½). A still life transfers the drawing, following the grid to use masking fluid, rubber cement, masking
is seen from above,
ensure accuracy. “The painting begins only tape, overprinting, acrylic, pen, pencil or even
raked in harsh light
for high contrast after I believe that the drawing is accurately collaged elements in his paintings. He’s willing
and dazzling color. and beautifully done,” he says. to use whatever’s necessary to advance the
Meanwhile, a softly
Funderburk starts by painting the broad- picture. “I have a set notan goal of the overall
lit seascape depicts
a sailing vessel on est areas. “Necessarily, I’ll do critical flats and image,” Funderburk says, “but the construction
the low horizon. gradations first, and then I begin layers, start- is something I never want to be too much of an
ing with a palette of warm colors. When the expert at. As a teacher, I tell students to know
paint is utterly dry, I follow with a layer of cools all you can about getting to the moment of
and then I refine. I don’t have a fixed formula. painting, and then to forget it all and paint.”
floating drama
All of Funderburk’s sensibilities are on view in Goodbye, manipulated the flooded paint to resemble cloud for-
Red (watercolor on paper, 24x38). It’s a painting in mations. He acknowledges that one of the problems
which a squeezed-out paint tube floats through the with masking can be that the resulting edges look
air in front of a fantastical landscape. A wall of tower- artificially hard. “I try to practice good ‘edgemanship,’ ”
ing red clouds hangs above a sea of bejeweled aqua he says. He’ll work at an edge, feathering or dragging
and blue. “This was part of the ‘Flying World’ series,” it to achieve a more natural look. “It’s a battle between
says the artist. “I’m making respectful reference to the keeping edges and beating them up.”
‘floating world’ of the Japanese Ukiyo-e, but the paint- The image has an improbable, otherworldly quality
ing was inspired mainly from a moment when I walked in which the color is overwhelmingly saturated, the
into the studio and saw a paint tube ‘floating’ half an light is hallucinatory, the background defies belief.
inch above the table.” This turned out to be an illusion, This sensual overload stems from Funderburk’s belief
of course; in reality, a smudge of paint was reading like that he experiences a kind of synesthesia, a condition
a shadow. But, the artist’s interest was engaged. “I was in which the stimulation of one sense excites another.
amazed, looking at the paint tube, to see that it looked “I’m a hardwired synesthetic,” he says, “so all letters,
like a figure, almost as though it was dancing,” he says. numbers and even sequential time and space are col-
“I haven’t thrown away a paint tube since.” ored beneath my eyes before I open them. To nature,
The artist based the red clouds in the background I bring dream hues that haunt me. From nature, my
on a dramatic sunrise in New Mexico. “It’s about nearsightedness cannot find an end to its color.”
the quick passing of that fiery light in the morn- The artist also found his visual sense reinforced
ing. I worked partly from reference and partly from due to an unusual medical condition. “When my eyes’
memory.” To achieve the sky on such a large scale, original lenses were replaced due to unexplained
the artist first masked out the paint tube and the cataracts in my late 30s, I could again see like a new-
lower half of the landscape using a combination of born baby,” he says. “My paintings couldn’t hold what
masking fluid and masking tape. “I then did a pour I saw. It was and still is a staggering, startling world
with brush and bucket and paint, allowing the water- of iridescent gifts and tricks that no one has yet been
color to go where it wished,” he says. Funderburk then able to explain to me.”

The artist
combined col-
laged still life and
enfolded maps
in Hypnopompic
(watercolor and
papier colle on
paper, 48x36),
which is based
on his experi-
ence of Palladio’s
architecture.
When it comes to knowing when a painting ‘fine art.’ One suspects more than detects. Over
is finished, Funderburk embraces an almost time, fulfillment spreads the impact of the note
mystical point of view. “Living with the work, even more fully. You recognize it. As scholar
one hears its awakening and sleeping, its ask- and mythologist Joseph Campbell said of find-
ing and telling, and, finally, its culminating ing your bliss, ‘You’ll know.’ ”
note of resolve,” he says. “I’ve come up short or
clumsily bumbled past it many times, but Between Dreaming and Waking
I believe it exists. It’s personal and univer- Funderburk’s latest series of paintings,
sal. It’s a well-hidden, slippery place—almost “Dreams of Palladio: New Solar Myths,” grew out
unseen or unheard, and certainly immeasur- of an impulse to reconcile his strong desire to
able—a very fine note. But that’s why it’s called simplify and complicate simultaneously. “On
To explore options
a trip to Italy in 2007, I saw the pared-down, bottom of the painting, sheets of paper have in freedom and
control, Funderburk
almost minimalist, 16th-century classical been squashed into biomorphic shapes and
juxtaposed a highly
architecture of Andrea Palladio [Italian, 1508- then glued to the painting. “They’re actually descriptive floral still
1580] as more fresh and contemporary than pieces of a map that someone sent me,” says life with randomly
painted abstract
anything ‘modern.’ I built compositions with the artist. “Dreaming is a state that we visit
elements in Infusion
a few finite, geometric shapes and then let every night, but we don’t know how to get there. (watercolor on
the Baroque, nearsighted side of me fill them The map refers to this.” paper, 25x40).
in with beloved, intimate intricacy,” he says. How would Funderburk like viewers to
In other words, the artist chose to compose a respond to his paintings? He answers in his
stable geometric composition and then use his signature poetic manner. “I’d love to think that
more complex imagery as elements within it. I’ll meet people as lost in this as I am,” he says.
This approach can be seen in Hypnopompic “Of course, I can’t be present, but when all is in
(opposite), a piece that’s part of the series. The balance, dynamically, of course, the notan of
title refers to the neurological state that occurs the work boldly pronounces the viewer’s name,
between dreaming and waking. Here, several while whispers of infinity call on and on—in
watercolor sheets have been collaged into form and in story. The viewer is arrested in the
a simple geometric design loosely based on strangest, most familiar place, and we play.
Funderburk’s experience of viewing Palladio’s “To be gently pulled and pushed by these
architecture. In the center sits an intensely ren- opposing but overlapping forces, to be swirled
dered still life painting of pears; the color has in this eddy, the viewer and me, gloriously the
been pushed to achieve an almost otherworldly only people in the world, together alone, but far
luminescence. Funderburk has actively and from lonely.”
adventurously handled the paint, creating an
array of drips and spatters in the lower half. JOHN A. PARKS (johnaparks.com) is a profes-
The other elements are less intensely real- sional artist and a teacher, and the author of
ized. The “dome” features a few flooded and Universal Principles of Art: 100 Key Concepts
dripped grays, while several elements of light for Understanding, Analyzing and Practicing Art
text and geometric design appear below. At the (Rockport Publishers, 2014).

8TH ANNUAL
watermedia
showcase
See your work featured in
Watercolor Artist magazine!
The award winners and honorable mentions in this exciting competition
p tition
will be published in the April 2017 issue of Watercolor Artistt.
New
for 2016!
Double the
cash prizes!
$2,500
2nd Place:
$1,250
3rd Place:
$750
Blue Crystal Bowl and Chinese Lantern (detail),
watercolor on paper, 15x22 by Soon Y. Warren
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The competition is open to artists anywhere in the world. All works must be original. Mixed-media entries are accepted,
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guidelines and to enter online, visit www.artistsnetwork.com/watermediashowcase.
Watercolor essentials B Y C AT H Y J O H N S O N
Back to
Nature
Seven artists share
glimpses of outdoor
scenes and specimens
they’ve captured in
their sketchpads.
O ne of the most fascinating ways

to learn about your corner of
the world, or anywhere you may
travel, is to sketch it—not just the
grand vista, but the things that live
and grow there, getting nose to nose
with nature. Landscapes are so much
more than just scenery. They include
biosystems of the living things that
abide there—nature, writ large.
I find that what we draw, we
begin to understand, then to appre-
ciate and then, naturally, to want to
protect. It becomes part of our tribe.
Follow along as I, and six of my
fellow nature-loving friends, open
our sketchbooks to share our images
of land, trees, plants and flowers.
The water and the soft autumn leaves in By the Spring (watercolor on paper, 8x5½) seemed
to call for a wet-into-wet approach, with just a touch of gouache to bring the lighter leaves
forward. I then scraped and spattered paint, which allowed me to work quickly.

r l r l
Sitting on the side of a hill in Nevada’s Red Rock Canyon, The woods were so lush in upper New York state that I wandered off into the forest
I did the initial drawing with ink as a guideline. This let me away from camp and sketched to my heart’s content. I’d been feeling rather over-
slap in the watercolor washes quickly, before they dried up. whelmed, and journaling in the woods was just what I needed. All that silent green!
One of the largest glacial boulders in my

area is near what’s now Smithville Lake. The
boulder was, no doubt, a landmark for indig-
enous people for hundreds of years.
Land
What makes an area unique, and
what formed it? That’s what I often
ask myself when I travel. For exam-
ple, there may be mountains rucked
up by settling plates deep inside the
earth, ancient eroded cliffs of sand-
stone or level plains.
When sketching en plein air, ask
yourself: How did the land get this Liz Steel painted
way? What grows here, and why? the rough slumped
earth of Mount
Specific types of soils affect plant St. Helens’ face
growth in many different ways, as after the volcanic
does the amount of rainfall. For eruption in 1980.
Working quickly in
instance, one year I did a landscape ink and watercolor,
in Nevada and one in the upper New she clearly cap-
York area, and the two couldn’t have tured the details of
the collapsed cone.
been more different. (See the two
painted sketches, top.) Both were
beautiful and challenging, but not
even distant cousins. Different areas
painting in an arid locale
I found that painting in California’s dry atmosphere is a lot different than working in the humid Midwest, where
I live. I was frustrated by how quickly washes dried; there was no shade to be found, and the angle of the sun
made it difficult to use my body to cut the glare. I had to use a number of fast painting tricks to complete this
painting on-site.
Step 1: On a sheet of cold-

pressed watercolor paper,
I made a large wash of raw
sienna and quinacridone gold,
laying it on with my largest
brush and working as fast
as I could. I then created
the second wash by adding
ultramarine and burnt sienna
1 2 3
to push the far hill back into
shadow. I splashed in some
dark green while the wash was
still wet to suggest more brush
on the hillside.
Step 2: I used a rough bristle

brush to lay in the bushes
quickly. While they were still
damp, I scraped trunks and
branches into the dark green
wash. I used my favorite
phthalo blue and burnt sienna
for rich, dark greens.
Step 3: I spattered paint and

added scratches in the shadow
areas to give the illusion of
texture on the steep hillside.
Finished Painting: I applied the

final touches and let the plein
air painting dry.

r l r l
Liz Steel used a bit

of brown ink as a
guideline and then
splashed in color
freely for her inter-
pretation of Sugar
Loaf in Rio de
Janeiro. Notice how
she suggested the
skyscrapers and
other buildings at
the water’s edge.
Marc Taro Holmes used very little pencil underdrawing (if at all) in I chose to use a lot of linework to suggest the ruggedness and eroded
his fast, juicy interpretation of Sugar Loaf. peaks of the San Gabriels in California. Then I added watercolor washes.
I took my time and paid attention to the land and textures I saw
across the valley.
may require adjusting your working prepared, and you’ll be happy with in the distance may appear higher,
methods as well as the colors you your results. simpler, smaller and, if you’re work-
choose. Likewise, your materials You may want to sketch what you ing in color, perhaps bluer or cooler
will respond to changes in humid- see as closely as possible, and light as well. You can utilize this aerial
ity and temperature. (See “Painting can make a big difference to your perspective to give your sketches a
in an Arid Locale” on page 61.) Be fi nal result. Hills and mountains sense of depth.
I used a cool and
warm principle in
this small water-
color pencil sketch.
The far hills are a
soft gray-blue and
very simple, while
the foreground is
warmer and much
more actively
detailed.
I felt the need to zero in on the mammoth Nevada rocks while the farther hill was in Different paper surfaces can be used to express differ-
shadow. To capture some of the linear aspects of rocks in The Valley of Fire, I used ent textures. For example, a rough paper can be used to
the sharpened end of my brush, dipping it in a strong wash of color and drawing depict a rugged surface. Using a dry brush in watercolor
with it. An old bristle brush for oil paints worked well to spatter additional texture. or skimming the high points of the paper’s surface
with colored pencil or graphite will also create texture.
Values create the illusion of volume and shadow.
Choose your medium to comple- interpreted Sugar Loaf in Rio de Trees

ment the subject or the amount of Janeiro (opposite, top), and then how When you look around with the inten-
time you have available. Play around Marc Taro Holmes (opposite, at left) tion to really see, you’ll find many
with color and texture to express sketched the same subject differ- different tree shapes, even within the
what you feel about the landscape. ently—but both captured the feeling same species. Trees of some sort are
For example, look at how Liz Steel beautifully in their own way. present in almost any landscape you

r l r l
I like to find a bare tree in

winter (or perhaps a dead
one if it’s summer), and sit
comfortably nearby. I pay
attention to the exposed
growing pattern of trunk,
branch and twig, utilizing
overlapping shapes and
suggesting bark texture if I
have time. Here, I splashed
in a background and left the Wherever I am, I take 30 minutes to walk
tree as a line drawing. Wet- around the area, taking notice of the variety
into-wet blending and a bit of of tree shapes and looking for different
spatter suggested the light- species. I do quick sketches of what I see;
dappled forest beyond. simple silhouettes like these show me a lot.
may encounter. You’ll find pine trees,

palms, apple trees, cedars, hardy
oaks, tall poplars or graceful willows.
I paid attention As you look carefully at each one,
to the shape and you’ll see how the individual shapes
diminishing size of
and foliage reveal the tree’s identity,
the limbs on these
bare oak trees, and as well as something of its growing
then I spattered needs or condition.
in a warm color to
Trees only blend into a single
suggest the
budding leaves. shape from a distance, but even then
there’s usually some variation in tex-
ture or color that makes the image
more interesting. Look for ways to
suggest distance.
Plants and Flowers

Sometimes we discover a more inti-
In winter, bones of mate look at nature right at our feet.
the tree are visible. Plants, flowers, seeds, mushrooms
Warren Ludwig
has captured a and pine cones are all fascinating
specific tree by sketching subjects—magical worlds
paying attention in miniature.
to the position of
each limb. Notice I love the big picture, but some-
the overlap- times getting down on my subject’s
ping shapes; level is just where I want to be. I
the negative
shapes between love making careful sketches, notes
the branches and observations. How do the
help depict the leaves grow? How are they shaped?
perspective.
What did that seed come from?
What kind of moss or mushroom
is that? Make written notes of any
Don Gore used an ink pen to express the gestalt of
these evergreen trees. The spiky, scratchy feeling is
perfect for their texture.
I often make my pages do double duty.

Here I was trying out new paints at the top,
but didn’t want to waste the page. A trip to
Cooley Lake tempted me to paint that sim-
ple blue distance. The hill to the left was
Brush marks can suggest the foliage of specific trees.
much closer, so I used texture and variation
Shevaun Doherty carefully observed the growing pat-
in color to suggest the trees there, and the
terns of these beautiful olive trees and captured the
bare winter trees in the foreground got a
feel with hundreds of small, quick marks.
simplified but more detailed handling to
bring them forward.
Sometimes I find
the best material
Carrying masking fluid in the field can be at my feet, such as
tricky, but some companies make a needle- this twig, leaf and
point applicator that makes it a lot easier. acorn from an oak.
Here, I protected the fine limbs of the dead
tree and then painted in the background
loosely. When it was dry, I removed the
mask, painted the trunk and softened some
of the limbs with clear water to prevent
them from looking so pasted on. Finally,
I scratched out even finer twigs with a
sharp blade.

r l r l
I like to explore my own backyard and get to know the Even the most familiar, common I learned a lot about the growth pattern
weeds or wildflowers I find there. I do a fast sketch or flowers are worth my attention. I got of this red clover from my rough sketch
take my time and enjoy a meditative drawing. I imagine nose-to-nose with this red clover, and (at left) and decided to paint it in my
myself as a botanist or an herbalist of the old school. a quick gesture sketch was enough journal using watercolors.
to tell me I wanted to explore further.
Vicky Williamson
moved to a log you to see more clearly. For instance,
cabin in a new-to- how wide does that road look in the
her state and is
drawing flora and distance in comparison to the fore-
fauna she’s never ground? How does that tree limb join
seen before. the main trunk and how big does it
appear in relation? What kind of tex-
ture does that boulder have—rough,
smooth, cracked?
Then trust your eye and your
perceptions. Draw what you’re feel-
ing, too. If a different color scheme
expresses your mood better than the
colors you see, use it. Sometimes I
like to add color to my sketches later
observations as you go along, and immerse yourself in the now—don’t instead of trying to match the colors
you’ll find it easier to identify an make it a chore. However you choose I see before me—it’s freeing.
unfamiliar flower. to express yourself is fine.
Work fast and capture the basic Excerpted with permission from Cathy
It’s All Just Shapes shapes, or take your time and work Johnson’s Artist’s Sketchbook (North
Don’t let anything intimidate you. slowly and meditatively—whatever Light Books, 2016), which is available
You’re sketching to learn, to experi- approach works for you at the time. for pre-order now at northlightshop.
ence, to relax, to celebrate and to Ask yourself questions, if that helps com. The book will be released in July.
ar tist’s marketplace
Jan Sitts
Mixed Media
Workshops
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techniques, used in the creation of her award
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request to info@northeastws.com or SASE to NEWS, 10/8-10/9/16, Huntsville. Brian Bomeisler, Part II – demonstrations and lectures, Robbie shares unique
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download prospectus at NorthStarWatermedia.com 3/23-3/25/17, Huntsville. Qiang Huang, Still Life Oil
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prospectus at www.nwws.org ARIZONA design found in nature to create unique paintings
Birgit O’Connor using a variety of layered techniques. It can be taken
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Contact: Liz Ramsey, 480/747-7763, lizramsey@cox.net Contact: nwsmemberexhib@gmail.com or
Jan Sitts www.RobbieLaird.com
Advertiser’s Index ALSO AVAILABLE FOR TEACHING WITH NEW Tom Lynch
PROJECTS FOR EACH CLASS. 6/9-6/10/16, Sacramento.
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10/10-10/14/16, Christopher Toph Schink, Watermedia. Available For Workshops In Your Area Lisa Pressman Mar 19-25, 2017
10/17-10/21/16, Linda Baker, Watercolor. Susan Ogilvie Mar 26-Apr 1, 2017
10/31-11/4/16, Patti Mollica, Acrylic.
Contact: 978/729-4970 Jane Davies May 7-13, 2017
www.NortheastArtWorkshops.com Barbara Nechis May 17-21, 2017
MICHIGAN Patti Mollica May 21-27, 2017
Chris Unwin Robert Burridge Jun 4-10, 2017
Watercolor Workshop Weekly on Wednesdays. Liz Kenyon Jun 18-24, 2017
West Bloomfield, MI 48322 Visit www.ArtAcademyLive.com Paul Leveille Jun 25-Jul 1, 2017
6/13-6/16/16, Detroit Suburbs. Alexis Lavine,
Watercolor painting from photos. Your Online Source For
Contact: Chris Unwin, 248/624-4902
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Art Instruction 24/7 artworkshops.com

NEW HAMPSHIRE Hudson River Valley Art Workshops 8/18/16, Old Forge. Barbara Bickford, CNYWS
Tony van Hasselt, A.W.S. 6/26-7/2/16, Joe Weatherly. Watercolor Series: Fun Creating With Acrylics. We will
7/6-7/10/16, John MacDonald. use simple ideas to create colorful acrylic paintings.
10/12-10/16/16, Chocorua. Five days of plein air
7/10-7/16/16, Ted Nuttall. Using liquid acrylics, we can paint easily, and can add
watercolor fun with a plethora of fall colors to inspire
7/17-7/23/16, Margaret Dyer. texture to make the painting interesting. $120/$95
you in and around The Preserve, a historic Inn,
View or CNYWS Member.
offering comfortable accommodations and all meals. 7/24-7/30/16, David Dunlop.
8/19/16, Old Forge. Judith Hand, CNYWS Watercolor
Demonstrations, lots of individual painting time and 7/31-8/6/16, Mel Stabin.
Series: The Pleasure Of Painting On Yupo. Yupo, is
personal assistance. 8/7-8/13/16, Margaret Evans. marketed as a “Synthetic Paper,” but it is more like a
Contact: www.vanhasseltworkshops.com 9/4-9/10/16, Self-Directed Retreat. sheet of plastic than conventional watercolor paper.
NEW JERSEY 9/11-9/17/16, Richard McKinley. $120/$95 View or CNYWS Member.
9/18-9/24/16, Linda Kemp. Contact: www.viewarts.org
Tom Lynch
9/25-10/1/16, Elizabeth St Hilaire Nelson.
8/16-8/19/16, Fairfield.
10/2-10/8/16, Skip Lawrence. NORTH CAROLINA
Contact: 630/851-2652 John C. Campbell Folk School
10/16-10/22/16, Alvaro Castagnet.
Tomlynch@msn.com or www.TomLynch.com 6/12-6/18/16, Betty Brown, Intermediate Watercolor.
3/19-3/25/17, Lisa Pressman.
NEW MEXICO 3/26-4/1/17, Susan Ogilvie. $594.
5/7-5/13/17, Jane Davies. 6/26-7/2/16, Kathy Cooper, Painted Floorcloths and
Robert Burridge
More. $594.
7/18-7/22/16, Cloudcroft. Loosen Up with Aquamedia 5/17-5/21/17, Barbara Nechis.
7/8-7/10/16, Teri Jones, Listen, Look, & Learn – An
Painting. 5-day Painting Workshop (Monday-Friday). 5/21-5/27/17, Patti Mollica.
Innovative Approach to Watercolor. $354.
Cloudcroft Art Workshops, PO Box 1202, Cloudcroft, 6/4-6/10/17, Robert Burridge. 7/24-7/29/16, Billie Shelburn, The Mechanics of
NM 88317. 6/18-6/24/17, Liz Kenyon. Sketching to Paint. $564.
Contact: Linda Shiplett, 575/687-2453 6/25-7/1/17, Paul Leveille. 8/7-8/13/16, Annie Cicale & Redenta Soprano,
Registrar@CloudcroftArt.com Contact: 888/665-0044 Botanical Books: Traditions Old and New. $630.
Lshiplett48@yahoo.com or www.CloudcroftArt.com info@artworkshops.com or www.artworkshops.com 8/14-8/19/16, Suzanne DesLauriers, Painting Country
Tom Lynch View Arts Gardens in Watercolor. $564.
9/26-9/29/16, Farmington. 7/7-8/11/16, Old Forge. Martha Deming, TWSA, PSA, 8/19-8/21/16, Virginia Urani, Get Your Feet Wet with
Contact: 630/851-2652 Watercolor Basics: Getting Started. View offers you a Watercolor. $354.
Tomlynch@msn.com or www.TomLynch.com 9/9-9/11/16, Annie Cicale, Seeds to Watercolor: Begin
6 week class for getting acquainted with the infinitely
Eric Wiegardt, AWS-DF, NWS with Flowers. $354.
fascinating medium of watercolor. $250/$200
7/11-7/15/16, Cloudcroft. 9/11-9/17/16, Gay Bryant, Watercolor – Improving Your
Member. Painting Techniques. $630.
Wiegardt’s Painterly Watercolors. Contact: Lauren Fix, lfix@viewarts.org or Martha Contact: John C. Campbell Folk School, Brasstown,
Contact: Cloudcroft Art Workshops Demmimng, mmdatmeadowtop@frontiernet.net NC, 800-FOLK-SCH or www.folkschool.org
CloudcroftArt.com 8/8-8/10/16, Old Forge. Carolyn Lord, August Gardens Kanuga
N E W YO R K In The Adirondacks. Plein Air watercolor painting is a 4/23-4/27/17, Hendersonville. Don Andrews, Carol
Art In The Mountains wonderful way to develop artistic skills while enjoying Frye, Stephanie Goldman, Ken Goldman, Paul
10/3-10/7/16, New York. John Salminen, An Insider’s the summer gardens of Old Forge. $450/$400 Jackson, Karen Knutson, Sandy Maudlin, Joseph
Look at New York, Watercolor, Plein Air. New York City Member. Melancon, Michael Reardon, Jeanne Rosier Smith, Jo
is one of the most visually exciting cities in the world. 8/17/16, Old Forge. Roland “Chip” Stevens, NWS, Toye, Lian Quan Zhen.
Skyscrapers and neon billboards juxtaposed against CNYWS Watercolor Series: Plein Air Transparent Contact: Robbie Laird, 530/259-2100
tranquil tree-filled parks provide a wide range of Watercolor. Learn to paint in transparent watercolors www.KanugaWatermediaWorkshops.com
subject matter choices. with nationally recognized award winning painter Tom Lynch
Contact: Tracy Culbertson, 503/930-4572 Roland “Chip” Stevens. All painting will be done 11/10-11/13/16, Raleigh.
info@artinthemountains.com or outdoors for any skill level. $120/$95 View or CNYWS Contact: 630/851-2652
www.artinthemountains.com Member. Tomlynch@msn.com or www.TomLynch.com

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OREGON WISCONSIN
Art In The Mountains Tom Lynch
7/11-7/15/16, Bend. David Lobenberg, California-Vibe 7/10-7/14/16, Lac du Flambeau.
Watercolor Portraiture. Studio. Shake it up with David Contact: 630/851-2652
Lobenberg. Apply watercolor with splatters, swabs, Tomlynch@msn.com or www.TomLynch.com
slaps, splats, and slashes to that portrait you’ve Jan Sitts
been waiting to paint or use one of David’s outline 9/12-9/15/16, Lac du Flambeau. Texture/Color/Feeling.
drawings. Come flood, blossom, and create textures
2017 WATERMEDIA
Dillman’s Art Workshop Retreats.
with a style that is about gesture, expressive color, Contact: Sue, 715/588-3143
soft transparency and hard opacity.
7/18-7/22/16, Bend. Richard McKinley, In-depth
Eric Wiegardt, AWS-DF, NWS
6/13-6/17/16, Madeline Island. WORKSHOPS
Underpainting Techniques for the Landscape. Pastel Wiegardt’s Painterly Watercolors.
- Studio. Pastel Society of America Master Pastelist Contact: Madeline Island School of the Arts Hendersonville, North Carolina
and Hall of Fame Honoree, Richard McKinley, will madelineartschool.com
demonstrate how various underpainting techniques,
W YO M I N G
Instruction - Sun.-Thu.
when utilized for landscape painting, can open new
doors to creative expression.
7/25-7/29/16, Bend. Kim English, The Figure in the
Jaimie Cordero
7/12-7/15/16, Casper. Layering Color for Translucent
(April 23-27, 2017)
Landscape. Plein Air - 1-day indoors. Need a crash Light & Shadow. 4-Day Watercolor Workshop.
course in value and shape? Kim’s dynamic workshop Casper Artists Guild.
DON ANDREWS
will teach you to rapidly capture gesture, light, and Contact: Michelle Myers, 510/566-1026 CAROL FRYE
form. Discover how to paint quickly and accurately shellyflower1958@gmail.com or
concentrating on the “process”. www.casperartguild.org/classes--workshops.html STEPHANIE GOLDMAN
8/1-8/5/16, Bend. Camille Przewodek, Color Boot For questions regarding workshop contents, contact
Camp. Oil - Plein Air. If you love color and you aspire Jaimie at: 786/303-5293 or email: KEN GOLDMAN
to understand and truly use its power and allure, then WDJaimieC@aol.com
Camille is your teacher and this is your workshop. PAUL JACKSON
Good color, or color that expresses the light key of
nature, can make even the most mundane subject
International KAREN KNUTSON
matter strikingly beautiful. C A N A DA SANDY MAUDLIN
8/8-8/12/16, Bend. Iain Stewart, Sketchbook to Studio. Robert Burridge
Watercolor - Studio and Plein Air. Imagine learning a 6/27-7/1/16, Murray Harbour, Prince Edward Island. JOSEPH MELANCON
step-by-step process that you can use for painting Loosen Up with Aquamedia Painting. 5-day Painting
any subject. Iain will teach you how to create a Workshop (Monday-Friday). Out of Our Minds Gallery, MICHAEL REARDON
road map, that if followed, will greatly improve your Murray Harbour, Prince Edward Island, Canada.
paintings. Contact: Sandi Komst, 902/962-3612 JEANNE ROSIER SMITH
8/15-8/19/16, Bend. Lian Quan Zhen, East Meets West. www.outofourmindsgallery.com
Studio. Strengthen your artwork with the limitless Robbie Laird JO TOYE
creative possibilities of Chinese and watercolor 7/14-7/17/16, Conception Bay South, Newfoundland.
painting. Lian will teach his approach on design, Layered Watermedia. This 4 day workshop offers a
LIAN QUAN ZHEN
composition and color with clear, practical easy-to- chance to learn Robbie’s exciting layering techniques,
follow demonstrations and instruction. REGISTRATION OPENS JUNE 1ST, 2016
used in her award winning Layered Watermedia
Contact: Tracy Culbertson, 503/930-4572 paintings. Acrylic gels & mediums, will be explored www.KanugaWatermediaWorkshops.com
info@artinthemountains.com or as well as, watercolors & gouache, in addition to
www.artinthemountains.com metallics and dry mediums. Robbie Laird, Director
RHODE ISLAND 7/19-7/21/16, Conception Bay South, Newfoundland. 530/259-2100 (Pacific Time)
Abstract Nature Of Nature. The emphasis of this 3 day
Birgit O’Connor workshop will be on the use of abstract design found
10/17-10/21/16, RIWS Rhode Island Watercolor Society. in nature to create unique paintings using a variety of
Contact: Lori Estrella, 401/726-1876 layered techniques. It can be taken as an extension of
riwsdirector@gmail.com the 4 day workshop offered above.
TEX AS Contact: Velmadalton@nl.rogers.com or Workshop Videos on DVDs
www.RobbieLaird.com
Birgit O’Connor
9/19-9/22/16, Austin. Workshop. CHILE
September 18 demonstration. Art In The Mountains
Contact: www.waterloowatercolor.org/workshops.html 4/25-5/15/17, Santiago. Karlyn Holman, “20-Day South
Jan Sitts American Cruise”, watercolor plus, studio. All Levels
4/5-4/8/17, Dallas. Texture/Color/Feeling. Welcome. Join us for the adventure of a lifetime.
Artist Showplace. Karlyn Holman and Art in the Mountains invite you to
join us on this 20-day art adventure from Santiago,
Contact: 972/233-1223
Chile to San Francisco, California. Karlyn will provide
VERMONT instruction, demonstrations, individual help and
Robert Burridge critiques on the 8-days at sea so you can enjoy your
off-shore excursions with your companion(s).
7/25-7/29/16, Williston.
Contact: Tracy Culbertson, 503/930-4572
Vermont Art Event - Holbein HK Trade Show.
Contact: HK Holbein, 800/682-6686. www.artinthemountains.com
Tom Lynch
7/25-7/29/16, Burlington. MEXICO
Contact: 630/851-2652 Tom Lynch
Tomlynch@msn.com or www.TomLynch.com 1/7-1/14/17, Puerta Vallarta.
Tony van Hasselt, A.W.S. Contact: 630/851-2652
8/8-8/12/16, Landgrove. Five days of plein air Tomlynch@msn.com or www.TomLynch.com
watercolor fun exploring the bucolic charm of a Tony van Hasselt, A.W.S.
summer landscape. Comfortable accommodations, 2/18-2/25/17, Boca de Tomatlan. Escape the cold
to join this Tropical Escapaint in watercolor and
Bev Jozwiak, AWS, NWS
gourmet meals and a spacious studio.
Demonstrations, lots of individual painting time with sketchbook journaling. Be inspired in this safe and
personal assistance. peaceful little fishing village south of Puerto Vallarta.
Contact: www.vanhasseltworkshops.com Excursions to nearby sites and the Bay of Banderas.
All inclusive, tuition, meals and accommodations.
WA S H I N G T O N Contact: www.vanhasseltworkshops.com
Jan Sitts PORTUGAL
8/7-8/10/17, Coupeville. Texture/Color/Feeling.
Eric Wiegardt, AWS-DF, NWS
Contact: Lisa Bernhardt
9/24-10/8/16, The Portuguese Island of Madeira.
Lisa@PacificNorthwestArtSchool.org
Madeira Watercolor Plein Air Workshop.
Eric Wiegardt, AWS-DF, NWS Contact: Wiegardt Studio Gallery, 360/665-5976
6/20-6/24/16, Long Beach Peninsula. watercolors@ericwiegardt.com
Wiegardt’s Painterly Watercolors.
Online
8/22-8/26/16, Long Beach Peninsula.
Watercolor Plein Air Workshop.
10/17-10/21/16, Long Beach Peninsula. Strathmore
Composition: Creating an Area of Dominance.
Contact: Wiegardt Studio Gallery, 360/665-5976
9/5/16, Will Terrell, Colorful Creation with Marker.
Will Terrell leads you through an introduction to
Chris Unwin, NWS
watercolors@ericwiegardt.com techniques for using markers on different types of
See Clips of Bev’s, Chris’ & Nita Engle’s
11/28-12/1/16, Woodinville. paper. In this workshop we’ll learn how to lay down Workshop DVDs & order info at:
Composition: Creating an Area of Dominance.
Contact: Kay@kaybarnes.com
color, build up layers and blend with markers.
Contact: www.strathmoreartist.com
WWW.ChrisUnwin.Net

picture this
B Y C AT H Y J O H N S O N
Sketching Your Life
I don’t take assignments or commis-

sions anymore. Most often, I work
in my journal, just for me. Sketching
explore things that speak to your
heart, pique your curiosity or stir
you to whimsy—beauty you might
“Drawing makes is a celebration, an honoring of the forget if you didn’t capture it in a
moments of my life and a reminder sketch. I’ve found that even sketch-
you see things to pay closer attention. Interestingly, ing scary things is precious … later.
I find that these sketches are what I made these sketches when my
clearer, and resonate most deeply with the husband was in the hospital for can-
clearer and people I share them with—in person,

in my classes and online. They speak
cer surgery (he’s fine now). Focusing
on getting the images down on paper
clearer still, until with a universal voice, stirring a helped to calm me, center me, in a
common memory. very stressful situation.
your eyes ache.” There’s a time and a place for There’s no room for self-criticism
—David Hockney following the rules of composition in a sketch, and certainly no room
and color theory to make a “proper” for anyone else to critique it; captur-
picture, but your sketchbook isn’t ing what you feel in the moment is
it. Sketching is an opportunity to what it’s all about.
See more of Cathy Johnson’s sketches on page 59.

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The Key to 9 Pros Share Their A New Twist on an 4 Must-Try

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