Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
ARTISTSNETWORK.COM
on the
Art Retreat
NEW
FROM STRATHMORE
HEAVYWEIGHT
MIXED MEDIA
NEW 500 Series Heavyweight Mixed Media
paper is internally sized for wet media and has
a durable vellum finish for drawing techniques.
It is excellent for watercolor, gouache, acrylic,
graphite, pen and ink, colored pencil,
marker, pastel, and collage.
TONED BLUE
MIXED MEDIA
NEW 400 Series Toned Blue Mixed Media
paper is specifically created for use with
light and dark media. It also combines the
characteristics of a watercolor paper and
the finish of a drawing sheet, creating
a paper that performs for all
wet & dry media.
26
THE WORLD IS
YOUR STUDIO
Meet three artists—Suhita
Shirodkar, Stephen Harby and
Hazel Soan—who enhance their
love of travel by always having
paint and brush at the ready.
BY ANNE HEVENER
34
ZEN OF TRAVELING
WITH ART SUPPLIES
This strategy will simplify your
next plein air painting trip.
THOMAS W SCHALLER
38
THE POWER OF
SUGGESTION
Steve Griggs’ evocative
landscapes allow viewers to
forge a personal connection. 56
BY JOHN A. PARKS
46
BRIGHT IDEAS
48
TAKING ON THE CITY
56
USE YOUR WORDS
A trio of art-loving friends For artist Ingrid E. Albrecht, Record your travel adventures
gets lasting inspiration a distinctive perspective in words and pictures, using
from a weekend art retreat. is key to painting expressive practical tips for keeping an
BY MARY ANN MOSS cityscapes. illustrated art journal.
BY MARIA SEDA-REEDER BY BRENDA SWENSON
ArtistsNetwork.com 1
AUGUST 2018
Columns
4 EDITOR’S NOTE
There’s power in travel,
and it can impact your art.
6 HAPPENINGS
Gouache miniatures take
flight, plus other surprises.
BY MCKENZIE GRAHAM
10 CREATIVITY
WORKSHOP
To create eye-catching
interest, establish an area of
dominance in your painting.
BY ERIC WIEGARDT
16 ANATOMY OF
A PAINTING
Revel in the beauty of the
Italian countryside in this
George Inness watercolor.
BY JERRY N. WEISS
20 WATERCOLOR
ESSENTIALS
Rescue your watercolors
with these quick-and-easy
solutions to nine common
painting aggravations.
BY BIRGIT O'CONNOR
20 10
64 BURNING QUESTION
Is your must-paint-there
spot a dream location? Or a
familiar place that still calls? ON THE COVER
COMPILED BY ANNE HEVENER The World Is Your Studio
72 OPEN BOOK (Bring a Sketchbook!) 26
Inspire your next sketching Art on the Road 34, 56
session by revisiting some Get Inspired at a Weekend
favorite “old friends” from
Art Retreat 46
your art toolkit.
BY CATHY JOHNSON Easy Solutions to 9 Pesky
Painting Problems 20
Watercolor Artist (ISSN 1941-5451) is published six times a year in February, April, June, August, October and December by F+W Media, Inc., 10151 Carver Road, Suite 300, Blue Ash OH 45242; tel: 513/531-
2222. Single copies: $7.99. Subscription rates: one year $21.97. Canadian subscriptions add $12 per year postal surcharge. Foreign subscriptions add $18 per year postal charge, and remit in U.S. funds.
Watercolor Artist will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 26, No. 4. Periodicals
postage paid at Blue Ash, OH, and additional mailing offices. Postmaster: Send all address changes to Watercolor Artist, P.O. Box 421751, Palm Coast, FL 32142-1751. F+W Media, Inc. Back issues are
available at northlightshop.com or by calling 855/842-5267. GST R122594716. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.
PRIVACY PROMISE
You don’t have to be a Captain Cook to enjoy a voyage of Occasionally we make portions of our customer list available to other companies so
they may contact you about products and services that may be of interest to you. If
discovery whenever you’re visiting a country or city for the you prefer we withhold your name, simply send a note with the magazine name to:
irst time. And that feeling of excitement is the perfect fuel List Manager, F+W Media, Inc. 10151 Carver Road, Suite 300, Blue Ash, OH 45242.
for art-making. So, go ahead. Choose your destination, Printed in the USA
pack your kit and ill up. WA Copyright © 2018 by F+W Media, Inc. All Rights Reserved.
PHOTO BY CARA HUMMEL
Caran d’Ache introduces MUSEUM AQUARELLE, an innovative approach to the art of watercolour
in the form of a pencil. A high concentration of pigments and excellent solubility ensure that
MUSEUM AQUARELLE pencils are perfectly suited to both watercolour painting and artistic design.
Developed and manufactured in Geneva, they are proposed in three assortments: Standard, Portait
and Marine. The 76 colours are also available individually.
FDUDQGDFKHFRP
FUHDWLYHDUWPDWHULDOVFRP
Happenings
/ MAKING A SPLASH /
Dina Brodsky
A hit on Instagram, one might say that Brodsky’s fascination with birds has
Dina Brodsky’s series of gouache min- come primarily from personal experi-
iatures proiling birds around the world ence, watching an elderly woman feed
has taken light. “Many years ago,” she pigeons every morning over a bridge
says, “I fell in love with Islamic minia- and the frequent occurrence of birds in
tures, as well as medieval manuscript her favorite poems. “Birds have been
illumination, and tried to experiment appearing in my paintings and sketch-
with some of the techniques those art- books ever since I started painting,”
ists used.” Brodsky tried egg tempera the artist says. “I’ve included them in
and gold leaf before settling on my paintings as stand-ins for people.”
CLOCKWISE
gouache for its less inicky application. Her miniatures project is inspired by a Green Bird (gouache on paper,
Pablo Neruda quote that says, “Bird by 6½x4¼)
bird, I’ve come to know the earth.”
Birds have been
“
appearing in my
paintings and
Brodsky says, “It’s a way of discovering
the world through a single window.”
he artist isn’t the only one bene-
iting from her research. “I have a
Beacon Down (gouache on
paper, 9¼x7)
Hummingbird (gouache on
paper, 4¾x4½)
toddler, so this is a chance to do some-
sketchbooks ever thing that’s interesting to both of us,”
since I started she says. “I tend not to think further
ahead than my current series, but I do
painting.
6
”
Watercolor artist | AUGUST 2018
know that I’ll always be painting.”
New + Notable 1HZ %RRN
/ STUDIO STAPLES /
Goldfaber Aqua Watercolor
Pencils [$30]
Made with innovative technology,
these wood-encased pencils
feature intense coloring and
lightfastness. The fully water-
soluble lead allows for precise
handling and won’t dry out.
.
Painting Without A Net
+DUGERXQG
VLJQHGSHUVRQDOL]HG
SDJHVRULJLQDOSDLQWLQJV
(ULFVDZDUGZLQQLQJSKLORVRSK\
DQGWHFKQLTXHV
3OHLQ$LU:RUNVKRSV
/DNH&RQVWDQFH*HUPDQ\6HSW
0DXL+DZDLL-DQ
Gift Wrap [$12]
Summer is notoriously full of birthdays, HULFZLHJDUGWFRP
and what better way to celebrate a
fellow watercolorist than to bundle a gift
in art. Rachel Nieman uses watercolor
to create her sweet gift wrap designs.
.//
/ ON THE SHELVES /
Sketches and Sundries [$35]
Read about author and artist
Abigail Halpin’s inspiration and
ideas alongside the sketches,
doodles and illustrations that
result. Halpin’s colorful, nature-
inspired style pops off every page.
./
ArtistsNetwork.com 7
Happenings
/ JULY 1-31 /
WORLD WATERCOLOR MONTH
Started by Charlie
O’Shields, creator of the
popular blog,
Doodlewash, World
Watercolor Month is a
worldwide charitable
event with a portion of
proceeds going toward the Dreaming
Zebra Foundation. Join in the fun on
social media and share your work,
goals or musings using the
hashtag #WorldWatercolorMonth
or #MyArtistsNetwork_WCMonth.
The Dreaming
“
Zebra Foundation
helps underprivileged kids—
our future artists—get the supplies
they need.
— CHARLIE O’SHIELDS ”
Water Media en Plein Air
with Stephen Quiller
SE
T
ArtistsNetwork.com 9
Creativity Workshop
Back Off
Want to attract the viewer’s attention? Learn the push and pull for establishing
an eye-catching area of dominance. By Eric Wiegardt
ArtistsNetwork.com 11
Creativity Workshop
r iega
g dtt e wie i ad c
has n awarded h t
ho orr n w e c lorr p ing:
g: he
M a a D l in n elllow
w
romm th A Wat collo
ci Ass a he a ts ,
he s b t k n f r hi s , oose
se
ntinn s yl . He an w
n, e n a a h.
h,
eree h y o gga dtt S
r wh ch is l c t Er s
g eat an n s home.
Step 1 Step 2
I block in the large shapes by establishing their appropriate value. Next, I begin to elevate the area of dominance compared to the rest
I may need to adjust these to darker values as the painting of the painting. I then work on the rest of the painting in support
develops, so pinpoint accuracy isn’t necessary at this stage; of the area, but I try not to surpass it in degree of refinement.
however, if I start off too dark with the value construction, I may This naturally brings the area of dominance to a higher level of
be in trouble because it’s so difficult to lighten a passage. This is completion; I follow this process throughout the painting until
the time for large connecting patterns with many soft edges. completion. There’s a logical reason for this: It allows me to keep
I also try to have some representation of the darks established as the area of dominance ahead of the rest of the painting. The area
a goalpost against which to compare the mid-tones and lights. of dominance should control the composition in totality.
Step 3 Final
I place a few more twigs around the flowers and darken the values I flatten the Masa paper and mount it onto watercolor paper
at the bottom and far right of the painting so that the stronger value for stability. I make the edges around the flowers harder and
contrasts are reserved for areas around the flowers. Again, I go define more branches in the same area. I add ultramarine blue to
back and forth between the area of dominance and the rest of the some of the white areas as a contrasting color statement, which
painting, always keeping the area of dominance one step ahead of helps to strengthen the area of dominance. I rely heavily on my
everything else. I ended up with an inadvertent darker twig shape intuitive impulses at this point. Having the darker twig shape
near the center of the composition. I’ve found it best to not touch a slightly off center draws the viewer’s eye to the flowers. I’m glad
possible mistake, but better to leave it for a later evaluation. I left it alone and didn’t fuss with it; it kept the passage fresh and
expressive for Quince (watercolor on paper, 22x30). WA
ArtistsNetwork.com 13
4úIVJYP4EMRXMRKW
JVóE
;EXIVGñSV1EWXIV
Thomas W. Schaller, Architect of Light:
Watercolor Paintings by a Master
by Thomas W. Schaller
Discover 150 paintings from an artist
celebrated for his poignant treatment of light
and its dynamic interplay with the natural
and manmade landscape. Explore the first
and only collection of work from the popular
contemporary artist, Thomas W. Schaller, in
Architect of Light, which features his finest
paintings—buildings, bridges, boats, people
and other scenes—from around the world.
Architect of Light also includes a series of
essays in which Thomas ruminates on his
journey as an artist, what drives him, and the
“truths” he’s discovered along the way.
He offers not only insight on composition,
color and other technical aspects of painting,
but also a provocative perspective on more
9781440350726 fundamental struggles for artists, such as
R4440 · Hardcover · $45.00 overcoming self-doubt and honing one’s own,
Also available as an eBook unique voice.
“The most nearly ‘perfect’ paintings to me are rarely the ones simply characterized by
technical expertise. More often, they are the ones in which you can sense the beating
heart of the artist just below the surface—flaws included.”
Available at your favorite bookseller. To learn more about the full range of Artists Network
products, including North Light books, visit ArtistsNetwork.com.
Fundamentals
of Photography
Taught by Joel Sartore
National Geographic Photographer
LECTURE TITLES
TIME O 1. Making Great Pictures
ED F
IT 2. Camera Equipment—What You Need
FE
LIM
R
70% 3.
4.
Lenses and Focal Length
Shutter Speeds
R 7
OR
off 5. Aperture and Depth of Field
BE
D ER M 6. Light I—Found or Ambient Light
BY S E P T E
7. Light II—Color and Intensity
8. Light III—Introduced Light
9. Composition I—Seeing Well
10. Composition II—Background and Perspective
11. Composition III—Framing and Layering
12. Let’s Go to Work—Landscapes
13. Let’s Go to Work—Wildlife
14. Let’s Go to Work—People and Relationships
15. Let’s Go to Work—From Mundane to Extraordinary
16. Let’s Go to Work—Special Occasions
17. Let’s Go to Work—Family Vacations
18. Advanced Topics—Research and Preparation
19. Advanced Topics—Macro Photography
20. Advanced Topics—Low Light
21. Advanced Topics—Problem Solving
22. After the Snap—Workflow and Organization
23. Editing—Choosing the Right Image
Learn the Inside Secrets of 24. Telling a Story with Pictures—The Photo Essay
Olive Trees
at Tivoli The mood of Olive
Trees at Tivoli is
consistent with Inness’
later work. Composed
of muted values,
A rare watercolor by GEORGE INNESS the painting is a
harbinger of the
encapsulates the beauty of the Tonalist movement
Italian countryside. and gives an abiding
impression of serenity.
By Jerry N. Weiss
The twisting road acts as a symmetrical The artist never exhibited his works on
mirror to the bent trunk of the main tree. paper. He used watercolor in a particularly
Together, the two shapes form an oval circuit personal way, freely applying washes,
at the center of the painting. intermixing transparent and opaque
passages, and working with a
spontaneous feel that was then-uncharted
territory in American watercolor painting.
Best of Show:
$2,500
2nd Place:
$1,250
3rd Place:
$750
4th Place:
$500 Blick gift card
5 Honorable Mentions:
$100 Blick gift cards
Gift cards courtesy
of Watermedia
Showcase sponsor:
Playing (detail; watercolor on paper, 22x30), by Yin Jun from WuHan, China
Watercolor SOS
challenges in Hibiscus
(watercolor on paper, 15x22),
such as how to apply color to
large areas without creating
blooms; how to use value to
give a seemingly flat flower the
impression of depth; and how
From studio lighting to errant brush hairs, we’ve got to avoid overlapping edges to
build intensity and drama.
surefire solutions to nine pesky painting problems.
By Birgit O’Connor
3
TROUBLE DETERMINING VALUES
Many people have problems seeing beyond color
to the values of a subject, but there are several
ways to make it easier. he quickest way, if
working from a photograph, is to make a black-
and-white photocopy, or to do a quick, small
thumbnail sketch in pencil or in a single paint
color such as gray, blue, indigo or sepia.
Another way to see value diferences quickly
is to hold a sheet of red plastic or acetate over
a subject. he red color eliminates all other
color, leaving only a range of values.
hese methods can help you develop a better
awareness of value, which will help you create
more interesting paintings.
ArtistsNetwork.com 21
Watercolor Essentials
4
UNINTENTIONAL BLOOMS 6
Have you ever wondered why a wash may look perfect one minute, and then MUDDY COLOR
as soon as you turn away, unwanted blooms (also called blossoms or backruns) Clean colors are essential
appear? his happens when the paper surface doesn’t dry evenly or when parts to creating effective
of the painting dry more quickly than others. watercolor paintings.
Before walking away from drying paper, make sure that the surface has an Overmixing or layering
even sheen and has dulled to a more matte appearance, especially if you’ll be colors improperly can lead
to muddy-looking color in
away for an extended period of time. If you can’t babysit the painting, use a your paintings. To prevent
hair dryer on low heat to speed up the drying process. Don’t hold it over the this, here are a few pointers
same spot for too long; keep it moving. And, be aware that hair dryers have to keep in mind.
a tendency to latten and homogenize the color. • Don’t mix too many colors
at a time. Stick to no more
than two or three.
• Don’t overmix colors on
your palette. Allow colors
to mingle and mix on the
paper—the results are
much more interesting.
• Work with the most
transparent colors
possible. They’ll create
some of the prettiest
mixtures and also will
layer the best, allowing
light to penetrate
through applied layers
and reflecting the white
of the paper for
luminous paintings.
• Avoid mixing cadmiums,
opaque colors and earth
Any water applied or dropped onto a drying surface can bloom easily, ruining smooth washes and colors. When colors such
causing feathered and hard edges. If that happens, you can either leave it alone, wait for it to dry, as siennas, umbers and
and then try to lift or soften the edges with a melamine foam eraser. Or, while it’s still damp, add ochres are blended, they
more water and allow the puddle to move around the surface to spread out the water evenly.
can get muddy.
• Don’t overuse mixed
complements. Mixing
complementary colors
5
HARD RINGS
creates neutral grays and
browns that can be useful,
but complements are
much more vibrant when
placed side by side.
OF COLOR
We’ve all had those hard • Be aware that every color
rings form around the edge has a warm or cool bias
that will affect the final
of a shape. his happens mixture. If you mix a warm
when too much water has red with a cool blue, the
been added to the area while resulting purple may be
the previously applied color is dull or muddy.
still damp. he additional • Allow each layer of
water is lifting the color from color to dry completely
the surface and pushing it out before applying the next.
If you notice a hard, thick ring form has to the edge. Otherwise, layers may
formed around the color on your paper lift and mix, which results
once it has dried, it’s because you’ve applied
If an area needs more color,
let it dry completely, and then in muddy color.
and reapplied too much water, lifting the
pigment and pushing it out to the edges. reapply color in layers.
Pigment code
Transparency category
Pigment code
Lightfastness rating
Series number
Pigment code
Series number: his number indicates price. Paint pig- durable) and C (fugitive). Keep in mind that most
ments can be expensive, and manufacturers group the student-grade pigments aren’t as lightfast.
material into the amount used and rarity of the raw
product. he paint is then split into a series that relects Pigment code: Each pigment can be universally identiied
the price: Series 1–5, for example, with Series 1 being the by its pigment code. his is a generic international number
lowest price. used for pigment name and color indexing. P stands for
pigment; Y for yellow; R for red; O for orange; G for green;
Lightfastness rating: his rating refers to the perma- B for blue; V for violet; Br for brown; and M for metallic.
nence and chemical stability of a color in relation to he number that follows is the chemical composition of
environmental factors, as determined by the American the pigment. For example, cobalt blue is PB28, and Winsor
Society for Testing and Materials. Some brands will use violet is PV23.
diferent methods for labeling such as Roman numerals,
letters or dots. Transparency category: Many brands will have symbols,
I’d recommend artist-grade paint with a lightfast rating letters or the word on the side of the tube that will indi-
of I (excellent) or II (good) rather than III (poor) or IV cate if a color is transparent (T or ), semitransparent
(fugitive). Winsor & Newton’s labels, for example, are AA (ST or ), semiopaque (SO or ) or opaque (O or Q).
(extremely permanent), A (permanent), B (moderately Labeling will vary by brand.
ArtistsNetwork.com 23
Watercolor Essentials
8
A STRAY BRUSH HAIR IN WET PAINT
If a stray brush hair gets stuck in a painting,
there’s a natural tendency to retrieve it with your
ingernail, but don’t try it as you may damage the
paper surface with your nail.
You don’t want to leave the hair while the painting
dries, however, because a couple of things can happen:
he hair can act like a resist, leaving a small white
line, or color can accumulate and settle along the hair,
leaving a colored line. If this happens, hopefully it’s
not in a large, smooth wash because it can be diicult
to remove. he best thing to do is to use a small
synthetic brush, such as a No. 3 round, to lift the hair
out gently. Using a larger brush can remove too much
color from the painting. Get the brush wet irst, dry
it, fan it out, and then, with a lick of your wrist, lift
the loose hair. Stifer synthetic brushes work best. If
you use a natural or a sable/synthetic blend, the hair
You can use any small synthetic brush that has a stiff tip, even a scrub
may be too soft and hold too much additional water, brush, to lift a loose hair. The idea is to allow only a few of the fibers of
which may cause unwanted blooming. the tip of your brush to catch the loose debris, not to touch the paper
with the entire brush tip and risk damaging it.
9
THE ENTIRE PAINTING
IS A MESS
Let’s say you have a painting that just
isn’t working. Consider removing all
the color by placing it under running
water using a faucet or hose or by sub-
merging it in a tub.
By rewetting it, you’re allowing the
color to soften and to be able to move
and lift again. While the surface is still
wet, use either a large, soft brush or
an original Mr. Clean Magic Eraser (or
melamine foam) to gently wipe the
surface to remove color from the
painting. Just don’t press too hard, or
you could damage the paper ibers. he
amount of abuse the paper can with-
stand will vary by brand and the sizing
used during the papermaking process.
Birgit O’Connor (birgitoconnor.com), of Bolinas, Calif., holds Most often, you won’t be able to get
signature membership in the Louisiana Watercolor Society back to the bright white of the original
and the California Watercolor Society. She’s the author of surface because some colors will be
three books, including her new release, Paint Watercolor more permanent and staining than
Flowers: A Beginner’s Step-by-Step Guide (North Light others, which will leave a ghost image.
Books, 2018), from which this article is excerpted. Available Be creative. Try using that ghost
after June 26, 2018, at ArtistsNetwork.com/store and image to your advantage as the under-
wherever books are sold. Interactive and non-interactive coat for another painting, or restart
online courses are available. the same painting afresh. WA
Interactive, non-
interactive courses
for all levels including
Master courses
Content rich, Go at
your own pace, Lifetime
access, some courses
include CC
y
(Closed captioning)
bscrib
styles, be part of a
Su
supportive, community
of other artists, includes
Private Facebook
group options.
Free mini course available
Stream OVER 700 https://birgitoconnorwatercolors.teachable.com
Courses available
art video workshops! Rocks Sand & Sea Glass • Master class on Exotic Orchids
Bold, Rich, Saturated Color • Background & Shadows
Atmospheric Landscapes • Waves & Water
Composition and Design with many more to come
www.artistsnetwork.com/tv/
www.birgitoconnor.com
I E Y X M J Y P & P ÷QW
& V M R K &
to Life
Paint Watercolor Flowers: $24.99 - R3543 - 9781440349966 - Paperback
A Beginner’s Step-by-Step Guide
By Birgit O’Connor
Learn how to paint unique, color-
Also available as an eBook
Available at your favorite bookseller. To learn more about the full range of
Artists Network products, including North Light books, visit ArtistsNetwork.com.
The World Is
Your Studio
THERE’S NOTHING QUITE LIKE SKETCHING AND PAINTING
FOR CAPTURING THE MEMORIES OF YOUR TRAVEL
ADVENTURES. TAKING THE TIME TO OBSERVE THE DETAILS
ALLOWS US TO SEE THE WORLD WITH EYES WIDE OPEN.
By Anne Hevener
T
he 19th-century writer-naturalist Henry David horeau said, “It’s not Hazel Soan loves painting the Maasai cattle
what you look at that matters, it’s what you see.” It’s a statement that herders in their colorful blankets. “The Maasai
are tall, which makes for elegant shapes,” Soan
perfectly elucidates the beneits of traveling with your sketching
says. “In Companions, Maasai Herders [12x26],
materials. To make a sketch of that bustling piazza or glorious cathedral I’m intrigued by the gaps and spaces between
requires time. It demands that you slow down enough to really take notice the limbs and robes of the men and the cattle’s
of the scene in front of you. hat extra efort, however, is also the payof, for legs. I painted this watercolor across the spread
an unhurried pace assures a deeper experience and a greater appreciation of of a Khadi paper sketchbook; hence, the middle
seam. This paper is made of a rough, long-
your subject. fibered cotton, which holds water longer,
Suhita Shirodkar, Stephen Harby and Hazel Soan are three artists who making it easier to work wet-into-wet in a hot
clearly know how to relish the joys of travel. In the following pages, you’ll climate.” Soan used yellow ochre, cadmium red,
see how brush and paint are vital to their experience of a place. violet, ultramarine blue and brown madder.
ArtistsNetwork.com 27
Suhita
Shirodkar
The Life of the City
Working primarily in pen, ink and
watercolor, artist Suhita Shirodkar
(suhitasketch.com) does most of her
sketching on location, working quickly
to capture an impression of the world
around her. “hat irst, quick, almost-
calligraphic capture is the one that gets
to the heart of the subject,” she says.
Shirodkar, a freelance illustrator,
enjoys world travel and often teaches
at the Urban Sketchers Symposiums.
ArtistsNetwork.com 29
Stephen Harby
A World of Architectural Wonder
Stephen Harby (stephenharby.com) months on the legendary Cunard Lines ocean liner, the SS Harby made this
is an architect, educator and artist. Queen Elizabeth. Since then—well, since the age of autono- watercolor of the
Parthenon, which sits
He maintains an architecture my—I’ve traveled as often as the spirit, funds and
atop the Acropolis in
practice in Santa Monica, Calif., and opportunity permit. Athens, on 11x14-inch
is a visiting lecturer at the Yale Arches paper. The
School of Architecture, where he has Q How does traveling impact your art-making? Parthenon, he notes,
directed the school’s study program is one of the earliest
buildings [447-432
in Rome since 2002. He also leads A One non-negotiable tenet of the Yale School of B.C.E.] designed by
cultural and artistic tours for small Architecture, where I also was a student, was that stu- known architects
select groups to destinations all dents maintain a sketchbook to document phenomena [Iktinos and
over the world. observed in the built and natural environments. For me Kallikrates]. “The use
of color permits the
and others, watercolor made its way into these sketch-
bright warm tone of
Q Describe your experiences as books to give added clarity and vividness. It wasn’t long the stone to be
a world traveler. before my images got larger and transitioned from the framed by the cool
rather unforgiving paper of the typical sketchbook to the blue sky,” he says,
A I realize that I was born to be a pas- inviting surfaces of Arches 140-lb cold-pressed. “and the gradations
of light created by the
sionate traveler. My American parents sun-cast shadows
were sojourning in London upon my Q How do your travels continue to inspire you when define the forms.”
birth and brought me home at six you’re home working in the studio?
The Things
He Carries
I always travel with at least a
sketchbook, but often bring a
setup for painting with an easel
in larger format. I never check
luggage, so I’ve organized my kit
to be as light and compact as
possible. I use a lightweight
camera tripod with telescoping
legs, on which I’ve mounted a
9-inch aluminum strip which
holds a sliding clip. This, in turn,
secures a Masonite board cut to
fit the side flap of my roll-aboard
suitcase. Two of these boards
sandwich however many sheets
of paper I think I’ll be able to use.
I’ve created a thin plywood shelf
that slips onto two of the tripod
legs to hold water, palette and
brushes. This setup allows me to
work standing up and eliminates
the need for a folding stool,
which takes up valuable space.”
—Stephen Harby
ArtistsNetwork.com 31
Hazel Soan
In the African Bush
On a painting holiday Artist Hazel Soan (allsoanup.com) grew up in the U.K., a studio where you can work uninter-
in Kenya, Soan’s where she studied at Camberwell and Leicester art colleges. rupted; always have an exhibition on
group was invited to
Her work has been exhibited widely in her home country the horizon that you can work toward;
paint in a Maasai
Village in the Rift and farther aield at venues in Namibia, Venezuela, South and always travel, so you never get into
Valley. “The people Africa and Zimbabwe, among other places. Soan has been a rut.
were welcoming and traveling across Africa since 1981 and keeps a studio in Cape
even invited us back Town as well as in West London. he people and animals of Q How do your travels impact your
for a wedding,” says
Soan. “It was the Africa—particularly those in Southern Africa, East Africa art-making?
colorful sarongs that and Malawi—feature prominently in her work.
attracted me to paint A Almost all of my work is made
Mother Africa Q Tell us about your traveling life. during my travels or back in the studio
[watercolor, 30x22],
using reference from my trips, so my art-
depicting three
Maasai ladies A I travel often and frequently, sometimes for prolonged making impacts my travels rather than
engaged in a group periods and always for painting. When I left college, a vice versa. I love to paint strong light
conversation.” professor gave me three pieces of advice: Always maintain and shadow, and I prefer to paint with
yellows, reds, blues and browns than
with greens, so I’m often traveling to
places that ofer abundant sunshine
and arid landscapes.
ArtistsNetwork.com 33
THE
Zen of Traveling
WITH ART SUPPLIES
34 Watercolor artist | AUGUST 2018
LESS IS MORE WHEN IT COMES TO PACKING
FOR TRAVEL FOR PLEIN AIR PAINTING.
By Thomas W Schaller
ABOVE
Footbridge
(watercolor on
paper, 15x22)
ABOVE RIGHT
L ike most people who travel for work, I sometimes feel as
if I live on airplanes, so packing for trips has taken on
added signiicance. I confess to being slightly obsessed
with advancements in luggage or the latest space-saving
trick, as I never want to be “that guy” who comes home
after a month of teaching on the road only to discover an unworn
sweater, a forgotten book or a lost pair of sneakers hiding at the bottom
of the suitcase. Standard protocol is to ask oneself what items to pack for
a trip, but my solution to prevent overpacking has been to do the oppo-
Here I am in action in site: Ask, instead, “What can I leave behind?”
Fengjing, China.
PRIORITIZE FUN
Apply my obsession with eicient packing to the topic of packing art
supplies, and my ixation becomes even more acute. Over the years, I’ve
tried to design the ideal complete, compact, lightweight on-site painting
ArtistsNetwork.com 35
9
3
6
4
7
kit that can be set up and broken down quickly. After many
false starts and mistakes, I’ve inally come pretty close to
something that works perfectly for my situation.
here are at least a thousand reasons why painters
everywhere dread the very idea of painting en plein air, but
if I had to identify the single most common mistake that
painters make initially, it would be trying to replicate how
we paint on-site with how we paint in the studio. It’s so
easy and feels natural to commit the entirely self-inlicted
error of hauling almost everything from a studio through
cities and across the landscape. At irst, understandably,
it’s simply diicult to determine what’s truly needed, but
the whole process of on-site painting can quickly become a
cumbersome and exhausting experience if too many sup-
plies are present. What that means for the painter is that
LEFT
All of my travel the session is wiped clean of any fun. and charger share the space, and it all weighs only a few
essentials fit inside
one small backpack. As soon as painting becomes an activ- pounds and can be carried onto any airplane. I dread
ity we don’t enjoy, we’re doing packing my supplies with checked luggage. Except for some
ABOVE RIGHT something wrong. occasional scrutiny given to my precious palette, I’ve been
My plein-air tripod all over the world without issue. Well, OK, sometimes I’ve
and easel are all set
forgotten to empty the water bottle!
up and ready to go.
LESS IS MORE One of the most surprising beneits to come from my
With some thought and experience, eforts at “supply minimalism” and the editing of painting
the answer to the question “How much materials is the parallel beneit of becoming better at
do I need?” is almost always, “A lot less editing my paintings. Having the mindset of carrying “only
than you might think.” All the art the essentials” has helped make it more clear to me what
materials shown here—enough for must be included in my paintings and what can be left out.
days of painting—fold up and it I believe that this approach has helped make my work—
nicely inside a small backpack. My both in the studio and out—more clear, direct and
passport, wallet, phone, headphones impactful. And I paint with more joy than ever. WA
ArtistsNetwork.com 37
THE POWER OF
SUGGESTION
COLORADO ARTIST STEVE GRIGGS USES
ENERGETIC BRUSHSTROKES AND BOLD COLOR
TO EVOKE A SUBTLE SENSE OF PLACE.
By John A. Parks
A Painter of Places
Griggs divides his work into
landscapes and cityscapes, and he’s
equally at home with throngs of He collects other images in the more traditional fashion ABOVE
people as he is with forests and on painting trips, which he then records in sketchbooks Saturday in the Park
(watercolor on
mountains. “Essentially, I’m a painter or on canvas.
paper, 28x20)
of places,” he says. Gifted with an Along with his commitment to visual brevity, Griggs
almost-photographic memory, is a master of atmosphere, imbuing his work with a sense OPPOSITE
Griggs says that sometimes he’ll just of narrative. Many of his paintings evoke watery gray Shape Shifter
glimpse a scene from a car and then light and project a relective moodiness that can be highly (watercolor on
paper, 10x13)
be able to recall it in its entirety afecting. Feelings produced by the work often emerge
when he goes to work in the studio. from the story behind the image.
ArtistsNetwork.com 39
the focal point, but as a participant in
the magic happening around it, with
sails down and secure, as it loated on
the glassy, warm-gray water. It
relects the momentary peace of this
part of the season and the oneness
of the moment.”
Griggs also notes that At Rest car-
ries with it a more personal meaning.
Now in his early 60s, the artist is
committing himself to painting full-
time after a career as a designer. “he
painting expresses where I am in my
own life journey: entering the fall of
At Rest (watercolor life, but at rest and in love with the
on paper, 13x10) rich colors of my world. I know winter
and its value study Sailing Boldly is coming, but I’m sailing boldly, and
In At Rest (above), for example, we’re presented with I don’t want to miss a moment of the
a pared-down view of a sailboat loating in an expanse of spectacular fall I have ahead of me.”
water. “It’s a painting about the end of the sailing season,” Powerful as this narrative is, Griggs
explains Griggs. “It’s about knowing that continuing to sail says that it’s an invention, essentially
is risky because hazardous winter storms arise quickly. a work of iction. “he background
But, choosing not to sail means missing the absolute washes were a continuation of some
beauty of autumn. his sailor has found a place of peace washes I’d been working on in other
and rest amid the fall color and still water.” landscapes, and the boat was drawn
With this information, the painting takes on a new from some sketches I did in Egg
dimension. he moody, autumnal light carries with it the Harbor, Wis.,” he recalls. “he tree
threat of bad weather, and the presence of the sailboat marks were scratched in with my pen
indicates a sailor who’s chancing his luck. To reinforce knife. I do lift sometimes, with tissue
this feeling, Griggs has engaged in a very physical bit or a sponge, but rarely. Mostly I choose
of painting. “he background was applied aggressively: to scratch back to the white paper or
wet-into-wet with rich, thick paint strokes,” he says. a warmer wash beneath the dark,
“Despite the way I approached the background, as the heavier glaze while it’s still damp.”
paint settled and melded together, it became placid and Griggs keeps other techniques in
retained the chroma and beauty of each color,” the artist his arsenal, including the use of
continues. “I wanted the boat to be of-center, not as granulation medium to create more
ArtistsNetwork.com 41
Sage Advice
Griggs, who’s an enthusiastic
workshop teacher, offers advice
and inspiration to beginners.
“I like to encourage others
to look to their artist within and
begin to explore and free their
talent,” he says. “At the end of
a workshop, my hope is that
each individual will leave with
paintings that are expressions
of his or her own voice, not a
copy of my work.
“On a practical level,” Griggs
continues, “at the beginning
of a workshop, I encourage the
participants to stand up instead
of sitting to paint; this frees them
to move.
“I also tell beginning painters
to take risks, to avoid comparing
their work to other artists’ and
to have fun.”
LEFT
Beneficence of Nature
(watercolor on paper, 13½x9½)
and its sketchbook beginnings
OPPOSITE
Impossible Dreamer
(watercolor on paper, 9½x16)
Working Through
the Challenges
Because Griggs adopts an open style
and assertive techniques, he’s able to
establish a lively rhythm of work.
“I generally paint quickly,” he says,
“which keeps the subjects as simply
expressed shapes. Over the years, I’ve
let go of the usual methods of paint-
ing. While I know how to paint in a
‘traditional’ watercolor style, I’ve
ArtistsNetwork.com 43
demo
Preliminary Studies
Next, I did a few quick painting studies to help me determine how I wanted to paint the perspective of the road.
I wanted the viewer to think about where the road was headed. What’s just beyond what can be seen?
In the sketch on the right, I left the red tree obscured by the others, with just a hint of color peeking through.
Final
In the final painting, I slightly adjusted the road’s perspective, offering more than the photo showed and letting the colors of the tree
come forward with their beautiful dance. I named this painting Coming Home (watercolor on paper, 14x21½); I grew up in Michigan,
and whenever I’m there, it feels like home. The viewer, however, might have an altogether different experience when looking at this
painting. That’s my goal: to paint a scene that allows viewers to connect with whatever story it’s telling them. WA
ArtistsNetwork.com 45
Bright Ideas
A Journey
Near Home
PHOTOS COURTESY OF MARY ANN MOSS
LINGERING EFFECTS
Our annual Palm Springs art
MORE THAN ART retreat beckons to us quietly
Our only goal throughout the year, like a giant
is to play and moon glimmering on the horizon.
explore inside All through the spring, it
the covers of our becomes a soft halo of light that
sketchbooks. settles around our daily lives,
And, that’s reminding us of the lovely date in
exactly what we the desert we’ve just shared. As
do for hours at a the year draws to a close, we
time, occasionally turn our faces toward the desert,
taking a break to knowing that in another month
eat, pour a glass or so, rain or shine, we’ll gather
of wine or dive there, like we always have, for
into the pool. another art-filled playdate.
ArtistsNetwork.com 47
LEFT
The Museum Is Now
Closed (watercolor
on paper, 11¼x7¼)
RIGHT
The View From 11B
(watercolor on
paper, 26x20)
ArtistsNetwork.com 51
of her teachers noticed her talents and convinced her to While Albrecht’s lifelong interest in
enroll at he American Academy of Art, in Chicago. learning about other cultures remains
Albrecht graduated from the academy in 1988 and gave steadfast, her artistic output has
herself ive years in which to establish a gallery and work- become less about painting “things”
ing studio where she could teach other aspiring and more about taking an intuitive
artists—and she never looked back. Some 20 years later, in approach to “designing more with
the middle of the economic recession, she did the same shape and value,” she says. “When I
thing again, setting up a working studio called Ingrid’s create, I want people to spend a little
OPPOSITE
Originals, Inc., this time in Chicago. “It was one of the best more time looking at my piece. How
Clearance 12' 5"
(watercolor on decisions I’ve ever made,” she says. do I accomplish that?” she asks rhe-
paper, 26x20) torically, answering her own question
in the same breath. “I ind a diferent
BELOW THE FOCUS ON PERSPECTIVE perspective.”
Train’s Late, I’m
Late, Please Wait Watercolor artist Irving Shapiro was an early teacher and To that aim, years ago, when she
(watercolor on inluence on Albrecht’s work, and she says that he encour- was still painting “things,” Albrecht
paper, 26x20) aged his students to “paint what you know.” created a small series based on studies
from the vantage point underneath a
peony bush that was backlit by the
sun. She sold all three pieces in that
series and attributes those sales to
the distinctive perspective she was
able to take on the common subject.
“When creating a new reality, you
need to give people something they
don’t usually see,” she says.
his radical use of perspective is
evident in Albrecht’s recent “Picasso”
series featuring the Picasso public
sculpture in downtown Chicago’s Daley
Plaza, but from several stories above.
Each piece frames the massive sculp-
ture from an aerial point of view.
Albrecht describes how she heavily
edited and deleted her source imagery
to achieve the unique compositions. “It
all goes back to design and only includ-
ing what’s important—not illing in
all the blanks.”
For Meet Me at the Picasso (on pages
50-51), one of three in the series, she
used “big shapes” of contrast, along
with patterns of light and shadow criss-
crossing the paper for added detail. he
result is an impression of the kind of
raking light that occurs on cloudless
evenings when shadows loom long and
the sun hangs low in the sky. his
approach takes a recognizable subject
and makes it more evocative.
THE STRUCTURE
OF LIGHT
Albrecht has a self-proclaimed fasci-
nation with alleys and light iltered
through cityscapes. he contrast
between igure and monumental
ABOVE
Alley Grit architecture within those uniquely same thing, but just a little bit diferently.” Such marks
(watercolor on
paper, 26x20) urban locations allows for the sharp delineate many of the ire escapes throughout the painting.
contrast between light and dark. Albrecht uses the implication of blinding light in the
OPPOSITE Alley Grit (above) is an example of painting as a contrast to the dark recesses of shadow in
Here’s Lookin’ this artistic inclination. To create the the titular alleyway. Figures are dwarfed by architecture,
at You, Kid
angles that allow for such contrast, but ultimately nature is bigger than any man-made ediice.
(watercolor on
paper, 26x20) Albrecht uses cut-up credit cards to As the space opens up to light in the center of the composi-
apply, stamp, scrape and push paint tion, details of structure dissolve, and the painter’s marks
around on the surface—making hint at the presence of architecture or mankind. In fact,
strokes that “are far more intriguing people in Albrecht’s paintings often are rendered as
than a regular brushstroke and that silhouttes, alluding to the universality and anonymity
enable me to ind ways to say the of big-city living.
THE BEAUTY
OF FAILURE
Albrecht’s Zen-like attitude has
allowed her a good deal of creative
freedom to experiment—and to
embrace mistakes in all of her
creative endeavors. his is a message
the longtime teacher shares with her
students. “I tell them that failure will
be their best teacher—that not fail-
ing should be less of a goal than
simply trying to fail better than the
last time around. You’ve got to learn
how to turn lemons into lemonade,”
she continues. “You have to be
Eastern in your thinking. Don’t say
‘Oh, my gosh, I’ve ruined it.’ Instead,
igure out what you can do to work
with what you have.”
Albrecht’s own life as an intrepid
explorer—of cities, countries, cul-
tures and creativity—proves that the
teacher truly is also the master. WA
ArtistsNetwork.com 55
56 Watercolor artist | AUGUST 2018
Use Your
words
AN ILLUSTRATED TRAVEL
JOURNAL IS A WONDERFUL WAY
TO CAPTURE THE STORY OF
YOUR ADVENTURES IN BOTH
WORDS AND PICTURES.
By Brenda Swenson
t
here’s an excitement to sketching on location
that’s diferent than working from photos in
my studio. I enjoy being surrounded by the
history, culture and sounds of a place. And,
when I take the time to record a scene within
the pages of my sketchbook, something
happens that touches my heart. he moment becomes
a part of me—a memory of a place and time that I’ll
carry all of my days.
By merging both images and words on a page, an
illustrated travel journal allows me to tell an even
bigger story. he pages contain the ups and downs of
travel. I feel free to express myself. And, by commit-
ting to the practice, my illustrated journals allow me
to see tangible growth within the pages.
Whether my travel adventure consists of a short
weekend up the coast or several weeks in a distant
land, I travel to see, to experience and to explore
Vernazza, Italy (8½x11): This page captures a wonderful
memory of the week I spent in Cinque Terre, hiking from one the world—one sketch at a time. My travel journals
village to the next and sketching along the way. I learned that are precious reminders of places I’ve been and my
a terrible flood swept through this village a few months later. experiences along the way.
ArtistsNetwork.com 57
SKETCHING feel my skills are lacking, when, in fact, I simply didn’t Costa Brava (10x16):
ON THE GO allow myself enough time. This page conjures
tasty memories of
As a workshop instructor, I travel So, my irst step when arriving at a location is to
my time in Catalonia
frequently throughout the United walk around for a few minutes to get a sense of the in northeastern
States, and once a year I take a group place. When I ind a subject that really excites me— Spain where we
of workshop students to Europe. maybe the light or the shadows, or a particularly enjoyed tapas—the
Before I’m scheduled to teach, I like impressive view—I begin to sketch. name for the snacks,
canapés or small
to spend a few days exploring and Most of the time I sketch in ink; I love the look of plates, which
sketching the location on my own. a solid, committed line. When I’m using ink, I tend to originated in Spain.
I love the experience of seeing a place look longer and draw with a greater sense of under-
for the irst time; the feeling of excite- standing. I sometimes use pencil, but a pen drawing
ment is tangible. I’ll sketch anything feels more like a complete thought to me.
that catches my eye: street scenes,
people, open markets, cathedrals,
my lunch at a café, the interior of a
church. I might walk 8 or more miles
in a day and make multiple sketches. “The sketch hunter moves through life as he
I’ve learned that before I start a finds it, not passing negligently the things he
sketch, I need to consider how much
time is available. hat way I can keep loves, but stopping to know them, and to note
my expectations realistic as to what’s
possible to start and inish. If I don’t,
them down in the shorthand of his sketchbook.”
I know that I’ll become frustrated and —ROBERT HENRI
TOP LEFT
Prague Journal (8½x11): I spent
a week in Prague, the capital
city of the Czech Republic,
before meeting up with artist
friends and traveling on to
Germany. I did 58 sketches
during the three weeks I was in
Prague and Germany.
ABOVE
A photograph of Prague with
the Church of St. Nicholas in
the center.
LEFT
Prague (watercolor on paper,
15x11): My sketchbooks are an
endless source of inspiration.
This is an example of one of
many paintings inspired by
sketches from my journals.
The photos I take during my
travels supply additional
information about lighting
and architectural details.
ArtistsNetwork.com 59
I’m not against photography, and
I still take photos when I’m traveling.
It’s important to have reference
photos for painting architectural
details, light, shadows and signage.
Also, when I’m working on-site,
I never know when something might
block my view, or whether I’ll be
chased of or rained out. But when
I’m able to make a sketch, I know I’ll
never forget what I saw. he image
will be forever ingrained in my mind.
MAKE A NOTE OF IT
You may not consider yourself a
“writer,” but you don’t have to be a
wordsmith. We all have something to
say, and there are easy ways to jump-
start journaling. Because our senses
are great for awakening a memory,
for example, I’ll often make a note of
a certain smell or sound, or other
sensation. It might be the smell of
bread baking or cut grass, the feel of
the warm sun or a cold wind, the
ABOVE
Oppede, France
(11x10): This sketch is
a montage of
images drawn on a
page to tell a bigger
story. The words
become part of the
design of the page.
RIGHT
Poble Espanyol,
Barcelona (8½x11):
This Spanish Village
Museum featured
architectural
influences of
Barcelona.
SKETCHBOOK
• I like a Stillman & Birn, Beta, stitch-bound, soft
noise of leaf blowers or the sound of church bells ring- cover, in both a 8½x5½-inch size (which opens to
ing. When I re-read my notes, it engages my senses as 8½x11) and a 10x8-inch size (which opens to 10x16).
if I’m right there in the moment. Or, I make my own 11x10-inch sketchbook using
Keep in mind that the words you put down on the Bockingford 140-lb. cold-pressed watercolor paper
sketchbook page can act as both an informative element and/or drawing papers.
and a creative one. I may use them as a design element—
PENS
to tie multiple images together, to balance a page, to
• I like everything from disposable Faber-Castell Pitt
serve as a page heading and even to cover a mistake!
pens to pricey fountain pens, for which I use both
When I’m traveling, I do my sketching and painting
water-soluble and waterproof ink.
during the day, and leave my writing for the evening,
when sketching is less practical. I keep an envelope in MISCELLANEOUS
the back of my sketchbook for ticket stubs and • Collapsible water bottle and bowl; sponge; spray
receipts I collect during the day. I’ve learned that bottle; cotton rag, paper towels rolled up; 2B
these items provide helpful details later, when I sit mechanical pencils; and erasers
down to write.
ArtistsNetwork.com 61
On a (Sketching) Mission
Of the 21 historic missions in Calfornia, built
between 1769 and 1823, I’ve sketched 17.
One of my favorites is the historic Santa
Barbara Mission, founded in 1786. The white
stucco buildings with red-tile roofs reflect the
Spanish colonial heritage of this small
coastal city. The beautiful facade, a blend of
Roman and mission architectural styles, has
earned it the name, “Queen of the Missions.”
I made the sketch below from a large park
directly across the street from the mission.
Instead of having the building dominate the
sketch, I placed roses high in the foreground,
pushing the building into the distance. I also
wanted the sketch to look softer, to reflect
the beautiful soft light of the day. To get the
effect, I used Pilot Iroshizuku Fuyu-syogun, a
light gray bottled ink.
ArtistsNetwork.com 63
Burning Question
What place is at
the top of your
have-to-paint-
there list?
Michael
Reardon
I was able to spend two weeks
this spring in a painting
paradise at the Villa d’Este.
This 16th-century villa near
Rome is famous for its terraced
Renaissance garden and
dozens of fountains. I’ve long
been fascinated by the
interplay of water, landscape
and architecture, and I knew
this villa would be a gold mine
of potential paintings.
Thomas W
Schaller Anne McCartney
What a great joy and privilege it is There are so many places I’d love to paint,
ILLUSTRATIONS BY BEAST FROM EAST/GETTY IMAGES
to lead a life that allows me to but one that has jumped to the front of the
travel to the far corners of the earth line for me is the Arctic. Because it’s one of
to paint. But in truth, I most often the most rapidly changing places on the
dream of those hidden painting planet, I would love to be able to document
spots deep within my own its unique beauty before it changes beyond
imagination. They’re always just recognition. To be able to capture its vast
around the next corner, just out of landscape and its unusual light would be a
sight, which keeps me looking. true challenge and pleasure.
ArtistsNetwork.com 65
SPANNOCCHIA | SEPTEMBER 16-22, 2018
INSTRUCTORS
Immersive. Transportive.
Restorative.
Join Artists Network for Retreat to Tuscany, a
weeklong art pilgrimage to the Italian countryside.
Two celebrated painter-instructors, Melanie Vote
and Thomas W. Schaller will mentor you toward
the creation of your best work during intimate
oil and watercolor workshops that will take full
advantage of the gorgeous surroundings and Thomas W. Schaller
rustic setting.
RE GIS T E R
ArtistsNetwork.com/Retreat-Tuscany-2018
Melanie Vote
Live an Artful Life
From meditations in the studio to trending colors, urban sketchers and Renaissance
masters, Artists Network connects you with the artists, ideas, inspiration, and skills
that encourage art making and living an artful life.
Artistsnetwork.com
artist’s marketplace
ArtistsNetwork.com 69
artist’s marketplace
NORTH CAROLINA OREGON VERMONT
John C. Campbell Folk School Art In The Mountains Tom Lynch
6/10-6/16/18, Kathy Chastain, 7/23-7/27/18 and 7/30-8/3/18, Bend. Herman Pekel, 7/24-7/25/18, Burlington.
Watercolor for the True Beginner. $630. Be Brave and Have Fun. Watercolor- studio and plein air. Contact: 630/851-2652
6/24-6/30/18, Carolyn Molder, All levels welcome. Tomlynch@msn.com or www.TomLynch.com
Summer Flowers in Pastel. $630. 8/6-8/10/18, Bend. Fabio Cembranelli, Intuitive Painting, Eric Wiegardt, AWS-DF, NWS
7/6-7/8/18, Teri Jones, Listen, Look, & Learn – Transcending the Subject. Watercolor - studio.
10/15-10/18/18, Landgrove.
An Innovative Approach to Watercolor. $354. Intermediate to advanced.
Wiegardt’s Painterly Watercolors.
7/15-7/21/18, Suzanne DesLauriers, Mountain Fantasy in 8/13-8/17/18, Bend. David Lobenberg, California Vibe.
Contact: vtinn@sover.net or
Watercolor (Intergenerational). $630. Studio - watercolor. All levels welcome.
artworkshopsatthelandgroveinn.com
7/22-7/27/18, Jane Voorhees, Small- scale 8/20-8/24/18, Bend. Lian Quan Zhen, East Meets West.
Watercolor for Beginners. $564. Watercolor - studio. All levels welcome. Vladislav Yeliseyev AIS, NWS
7/27-7/29/18, June Rollins, Come Test the Waters. $354. 8/27-8/31/18, Bend. Ward Jene Stroud, Brusho and Beyond. 8/27-8/30/18, Landgrove Inn.
8/17-8/19/18, Kathy Chastain, Beginning Illustrated Watercolor - studio. All levels welcome. Contact: 800/669-8466, vtinn@sover.net
Journaling. $354. Contact: Tracy Culbertson, 503/930-4572 August 2018, Burlington. Vermont Watercolor Society
8/26-9/1/18, Betty Brown, Intermediate Watercolor. $630. info@artinthemountains.com or 2 day Workshop.
Contact: John C. Campbell Folk School www.artinthemountains.com Contact: Julie Holmes, juliefurq@yahoo.com
Brasstown, NC 800-FOLK-SCH or www.folkschool.org Robbie Laird WASHINGTON
Kanuga 10/8-10/12/18, Salem. Watercolor Society of Oregon.
Tony Couch, AWS
3/30-4/5/19, Hendersonville. Keiko Tanabe, Jonathan Talbot, Contact: Beth Verheyden, vstudios@comcast.net
8/27-8/30/18, Anacortes.
Iain Stewart, Michael Pearson, Aline Ordman, Judy Morris,
Mark Mehaffey, Stephanie Goldman, Ken Goldman, Joan
RHODE ISLAND Contact: 678/513-6676, toncouch@mindspring.com
Fullerton, Amy D’Apice and Drew Bandish. Vladislav Yeliseyev AIS, NWS Tom Lynch
Contact: Chris & Barbara Hutchison 9/12-9/14/18, Pawtucket. Rhode Island Watercolor Society 9/25-9/28/18, Clarkston.
kanugaww@gmail.com or 3 day Workshop. Contact: 630/851-2652
www.KanugaWatermediaWorkshops.com Contact: 401/726-1876, www.riws.org Tomlynch@msn.com or www.TomLynch.com
Tom Lynch TENNESSEE Birgit O’Connor
11/8-11/10/18, Raleigh. Tom Lynch 10/16-10/19/18, Spokane.
Contact: 630/851-2652 6/5-6/8/18, Cookeville. SSW Spokane Watercolor Society.
Tomlynch@msn.com or www.TomLynch.com Contact: 630/851-2652 Contact: Carol Grabowski
Vladislav Yeliseyev AIS, NWS Tomlynch@msn.com or www.TomLynch.com carol_grabowski@comcast.net
7/29-7/30/18, Cashier. 2 day Watercolor Plein Air Workshop. Jan Sitts
Contact: Marina, 941/330-6865, school@yeliseyev.com TEXAS 9/6-9/9/18, Coupeville.
Tony Couch, AWS Contact: Lisa, 360/678-7420
OHIO 10/9-10/11/18, Dallas. Pacific NorthWest Art School.
Tony Couch, AWS Contact: 678/513-6676, toncouch@mindspring.com
Eric Wiegardt, AWS-DF, NWS
7/9-7/12/18, Oxford. Tom Lynch 7/9-7/13/18, Long Beach Peninsula.
Contact: 678/513-6676, toncouch@mindspring.com 9/6-9/9/18, New Braunfels. Watercolor Plein Air Workshop.
Robbie Laird 9/9-9/13/19, Stephenville. Contact: Wiegardt Studio Gallery, 360/665-5976
8/28-8/31/18, Pepper Pike. Ohio Watercolor Society. Contact: 630/851-2652 watercolors@ericwiegardt.com
Contact: Michael McEnroe, mcenroem@aol.com Tomlynch@msn.com or www.TomLynch.com
Tom Lynch Jan Sitts WEST VIRGINIA
10/17-10/20/18, Beavercreek. 10/1-10/4/18, Granbury. Lake Granbury Art Association. Jaimie Cordero
Contact: 630/851-2652 Contact: Diana, 817/326-5629 or 817/578-1842 For questions regarding workshop contents, contact
Tomlynch@msn.com or www.TomLynch.com March or April 2019, Studio Art House. Dates TBA. Jaimie at 786/303-5293 or WDJaimieC@aol.com
Available at your favorite bookseller. To learn more about the full range
of Artists Network products, including North Light books, visit ArtistsNetwork.com.
INTERNATIONAL
AUSTRALIA
Art In The Mountains
1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New
Caledonia and Gold Coast Australia Cruise/workshop.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com or
www.artinthemountains.com
CANADA
Robert Burridge
6/25-6/29/18, Oakville, Ontario.
Larger & Looser! Oakville Art Society.
6/30/18, Oakville, Ontario. Art Marketing for the Busy Artist.
Oakville Art Society.
Contact: Mary Driussi, oasclasses@hotmail.com or
www.oakvilleartsociety.com/workshops.html
Tom Lynch
7/13-7/16/18, Conception Bay.
7/18-7/21/18, Conception Bay.
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com A Good Fortune
Alexis Lavine, NWS
COSTA RICA
Robbie Laird See Alexis Lavine’s Video Clips
3/31-4/6/19, Capturing Costa Rica In Color. and Video Clips of these artists
Contact: Franco Marini, Franco@globalj.org Chris Unwin, NWS
CROATIA Nita Engle, AWS
Vladislav Yeliseyev AIS, NWS Soon Warren, AWS, NWS
6/9-6/16/19, Painting Vacation in Croatia. Artists dream Bev Jozwiak, AWS, NWS
vacation! Majestic scenes of courtyards, quaint villages, old
stone buildings, olives on the trees, and small fishing boats -
just a few subjects to name.
WWW. ChrisUnwin.NET
Contact: Marina, 941/330-6865
contact@yeliseyev.com or www.yeliseyevfineart.com
EUROPE RQOLQH QRZ
Art In The Mountains
10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to
New Orleans. Painting days are ‘at sea’ days only. 6LQFH
Contact: Tracy Culbertson, 503/930-4572 ³3UHPLHU 'HVWLQDWLRQ :RUNVKRSV´
info@artinthemountains.com or
&KDUOHV 5HLG
6DYDQQDK *$
www.artinthemountains.com
Tomlynch@msn.com 630-851-2652
FRANCE www.tomlynch.com
Art In The Mountains /LDQ=KHQ +HUPDQ 3HNHO
6/10-6/14/19, Paris. Herman Pekel, watercolor- plein air - %HQG 25 2018-19 WORKSHOPS
intermediate to advanced.
Contact: Tracy Culbertson, 503/930-4572 %HQG25 %HQG 25 June 5 – 8 Cookeville, TN
info@artinthemountains.com or :DUG 6WURXG 3DULV )UDQFH July 13 – 16 Conception Bay, Canada
'DYLG /REHQEHUJ
www.artinthemountains.com July 18 – 21 Conception Bay, Canada
GERMANY
%HQG 25 %HQG 25 July 24 – 25 Burlington, VT
Eric Wiegardt, AWS-DF, NWS September 6 – 9 New Braunfels, TX
9/15-9/29/18, Lake Constance, Friedrichshafen. )DELR &HPEUDQHOOL September 25 – 28 Clarkston, WA
Plein Air Workshop. %HQG 25 October 17 – 20 Beavercreek, OH
0DXL +,
Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com November 8 – 10 Raleigh, NC
ITALY 0DU\ :K\WH January 7 – 10 Boynton Beach, FL
Vladislav Yeliseyev AIS, NWS ,QGLDQDSROLV ,1 February 9 – 16 Puerto Vallarta, Mexico
6/21-7/5/18, Painting Trip – “Impressions of Umbria” - Two *UHHQYLOOH 6& March 5 – 8 Punta Gorda, FL
.DUO\Q $OYDUR &DVWDJQHW
weeks, La Romita School of Art! Join Vladislav Yeliseyev
for painting workshop in a beautifully restored Capuchin August 13 – 19 Reno, NV
monastery from the 16th century surrounded by olive groves in +ROPDQ 6DQ $QWRQLR 7; September 9 – 13 Stephenville, TX
7ZR
the foothills of the Apennines Mountains.
Contact: Tracy, 202/337-3120, washington@laromita.org or ,DLQ 6WHZDUW Available For Workshops In Your Area
www.laromita.org/workshops-italy-2018/vyeliseyev 3DLQWLQJ %HQG 25
MEXICO :RUNVKRS &KLQPD\D 3DQGD
Tom Lynch &UXLVHV %HQG 25
2/9-2/16/19, Puerto Vallarta.
(XURSH
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com $XVWUDOLD 0LFKDHO 5HDUGRQ
SPAIN
%HQG 25
Vladislav Yeliseyev AIS, NWS 'DYLG 7D\ORU
5/27-6/3/19, Painting vacation in Spain. Don’t Be a Tourist. Be 6DQWD %DUEDUD &$ Visit www.ArtAcademyLive.com
our Guest! Join me for 8 unforgettable days in Barcelona and
Costa Brava. Your Online Source For
Contact: French Escapade, 510/483-5713
contact@frenchescapade.com or www.frenchescapade.com
ZZZDUWLQWKHPRXQWDLQVFRP Art Instruction 24/7
ArtistsNetwork.com 71
Open Book
Ready to Revisit
Years ago, Cathy Johnson’s favorite sketching
tools were a dark-hued colored pencil and a
watercolor wash of black, warm dark gray, even
indigo or black raspberry. “Somehow, once I fell in
love with the varied lines of a fountain pen, I drifted
away from these,” she says. “But recently, the urge hit
me to revisit these ‘old friends.’ I found an indigo pencil
[an old Prismacolor] in my kit, and a glorious, shady
bench by the river. The tree was old and gnarled,
and autumn’s hues were just coming in, providing
a colorful backdrop for my sketch.”
YOUR TURN!
Reach for a tool you haven’t used in awhile and share the
results. @ArtistsNetwork on Instagram: #everywatercolor
“OPEN BOOK”
S P O N S O R E D BY
Founded in 1832, innovation has always been at the heart of Winsor & Newton. First to develop
glycerin based water colours, collapsible tin tubes, and a durable opaque white water colour, Chinese
White, Winsor & Newton once again made history in 1866 when Her Majesty Queen Victoria gave orders
that Winsor & Newton, holders of the Royal Warrant, be commanded to produce the very finest water
colour brushes in her favourite size: the No. 7.
Now, more than 150 years later Winsor & Newton introduces some of the finest water colour papers
offered to artists today. All papers are made on a traditional cylinder mould at the paper mill,
following a practice that dates back to the 19th century. The papers are internally and externally
sized so colours remain brilliant and intense even when dry.
Are you interested in trying our paper for yourself?
Please go to: http://www.winsornewton.com/na/paper-sample to request a free sample.*
www.winsornewton.com
*While supplies last. No purchase necessary. Only one per household. Must be 18 years or older.
Offer good in United States and Canada only – no PO Box; expires October 1, 2018.
YOU HAVE THE VISION
BLICK
®
DickBlick.com 800.828.4548