AUTHOR
A LVA R O
CA STAG N ET
BELIEVES that ‘your work
is your best teacher’, therefore,
the philosophy of this book will
enable you to learn a great deal
from observing and evaluating
your own paintings, and building
on your discoveries so that you
can improve and develop your
own personal style of watercolor
painting.
Drawing on his own wealth
of knowledge and experience, Al-
varo will guide you through key
topics – philosophy, ideas, tech-
nique, color, brushstrokes and
magic – advising you how to as-
sess and respond to each topic,
as related to your own work. He
explains that: ‘By contemplating
your work, without judging it, you
learn about your own strengths
and weaknesses. Your work can
tell you what to do next and what
to avoid. For example: How did
you observe your subject? Can you
improve your methods? Where
could you reaffirm the things you
are discovering by putting them
into practice?’
The structure of the book is
based on six chapters, each with in-
troductory text discussing the key
topic concerned. The chapters in-
clude a generous selection of stun-
ning watercolor paintings which
cover a wide variety of subjects and
include detailed, informative cap-
tions, so as to expand on the points
discussed in the paragraphs.
Furthermore, this book in-
cludes four advantageous, step-by-
step lessons, using different refer-
ence sources such as photographs,
computer, sketches and real life.
Alvaro shares his demonstrations
for appealing landscapes in Aus-
tralia; boats in Cadaques, where
his first DVD, Inspired Watercolor
was filmed; “Circulo Militar” Pla-
za San Martin, a beautiful building
in Buenos Aires; and an interior
painting in his own studio.
“There is no teacher in art, your teacher
is your work, your vision can’t never
be match by your ability to paint, so,
always ask yourself, what is wrong
with it, how can I make it better....
aim high!!”
 B rushes
are the most important tool to the painter, and . . .
Alvaro Castagnet’s signature squirrel brushes are of premier hair
- soft and very absorbent. They hold lots of water and color, great
to carry the paint to the paper, with fewer strokes. Longer handles
allow for more freedom & better craftsmanship. Designed to paint,
paint & paint! A new line of Escoda Synthetic signature brushes
with long red handles are also available. Alvaro is the designer of
his own art materials, which you will see him, use in this book.
 P ainting W ith P assion

B eyond
T echnique
alvaro castagnet

RAINY DAY CHAPEL ST

22 x 30” (56 x 75cm)

I love working with contrast, the soft and subdued look of the back-
ground buildings, against the strong and thick paint colors on the
cars and their lights, extending the reflections into the transparent
washes of the road. I think it works quite well, happy with the result.
Alvaro Castagnet
P.O. Box 12054
Montevideo, Uruguay 11300
Website: alvarocastagnet.net

Copyright © Alvaro Castagnet

All rights reserved.

No part of this book may be repro-

duced or transmitted in any form
or by any means, electronic or me-
chanical including information stor-
age and retrieval systems without the
permission in writing from the pub-
lisher and author.

Author, Artwork: Alvaro Castagnet

Edited by Robin Capon
Photography by Alejandro Serra
Design and Layout by Debra Ashton
Production: Ana Maria Castagnet
Embedded Open Font License (OFL)
for LibreBaskerville and Alegreya
ISBN-13: 978-0-9848524-3-7
Original Publication Date: 2011
CIUDAD VIEJA
(Old Town)
22 x 30” (56 x 75cm)
Watercolor “ALLA PRIMA” done
in one go, no glazing dealing with
values as you go along, mixing
on the paper. I described the sil-
houette of the car with a saturat-
ed pigment, I broke the intensity
of this washes by dropping water
and let it take its own way.
 PREFACE
A LVA R O
CA STAG N ET
IS ONE of the most skillful and
successful watercolor artists of
the present day. As an inspired,
expressive painter, he is known
for his powerful, impressive and
colorful style. In particular, Al-
varo’s strengths lie in the inter-
pretation of light effects and his
ability to evoke mood and cap-
ture the soul of the places that
he paints.
Since 1985 there have been
manysolo exhibitions ofAlvaro’s
work, with paintings acquired by
private and corporate collectors
worldwide. He has been recog-
nized with prestigious awards
over the past 30 years including
the National Watercolor Society;
Alice Bale Art Award (Australia);
three by the American Watercolor
Society; Shanghai Zhujiajiao Bi-
ennial and many more. Alvaro
was elected as a member of the
AWS, USA, Australian Watercolor
Institute, ACUA, and he is an Hon-
orary Member Ohio Watercolor So-
ciety.
Alvaro’s win at the Shanghai
Zhujiajiao Biennial Exhibition, in
2010, has been a great achievement
for his successful career, as the ex-
hibits were of upmost high level
and included masters from China,
Britain, USA, Russia, Australia, Ja-
pan, South Korea, Germany, Spain,
etc. The award winning painting
will be shown in a permanent ex-
hibition at the Quanhua Waterco-
lour Art Gallery.
His outgoing personality and
professional ability make him a
popular choice to participate in
many top events in the watercolor
world, including the Cross-Centu-
ry Asian Pacific Watercolor Exhibi-
tion, the Belgian Biennale, and the
Biennale de Madrid. Alvaro was
invited to participate in the auc-
tion/exhibition “The Art of Saving
Lives” at Sotheby’s Australia. He
is one of the five members of the
Winterlude Painting Group, who
together have produced a book
chronicling some of their painting
expeditions, paint-outs and exhi-
bitions.
 Alvaro was personally invited
to take part of the most accom-
plished world-class watermedia
masters’ exhibition, organized
by Jiangsu watercolor Research
Institute (WRI) Exhibition of
Contemporary International
Watermedia Masters, held at
Jiangsu Province Art Museum
gallery, Nanjing, China, dur-
ing June, 2010. It was with great
honors, he received certificate
of distinction.
In August 2010, the NWS in
USA presented him with a Gold-
en Artist Colors award and se-
lected his painting, “After work
- Chicago”, to participate in the
Travel exhibition for their 90th the world, painting, demonstrating,
Annual show. lecturing and judging art competi-
His work has been featured tions and attending exhibitions of
in several books, in addition his work. He conducts watercolor
to his own very successful first painting workshops in a variety of
book, Watercolor Painting with countries, including the USA, UK,
Passion, published in 2000. He France, Spain, Australia and South
regularly writes for some of the America; and he has established a
major international art maga- reputation as a popular and inspi-
zines and is currently working rational painter. Alvaro currently
on a new series of DVDs, follow- lives in Montevideo, Uruguay, with
ing the success of Inspired Wa- his wife, Ana Maria and their sons,
tercolour. Gaston and Calvin. He communi-
Alvaro, known as the “Pas- cates with art enthusiasts around
sionate Painter”, travels around the world at alvarocastagnet.net.
 “At the end of the day,
the only thing that counts is
your insight,
your reaction, and the
way you convey
your feeling towards
the subject.”

WATCH ONLINE
alvarocastagnet.net

AUTHOR
PREFACE
acknowledgments
foreward
introduction
PASSION, A KEY ELEMENT IN A
MASTERFUL WORK OF ART!
chapter one
A PHILOSOPHY FOR PAINTING
Plan it in your head,
but paint it from your heart
Artists paint for various reasons. But what distin-
guishes the ordinary from the great in painting is
not necessarily the vision, degree of skill or power of
expression, but the thinking, feeling, philosophy and
associated qualities that motivate the work. Some-
how, however subtly, those qualities must be evident
in the final painting, and so be communicated to the
viewer. The most intriguing, emotive and enduring
paintings have an inherent sense of poetry, a mean-
ing beyond the subject matter itself. They challenge
our perceptions, play on our emotions.
Table of Contents
chapter two
IDEAS
Trust your instinct
and imagination
Art begins with an idea, a mental image
that you feel strongly about and com-
pelled to express. Embracing that new
idea, and developing it to a successful
outcome, requires both an emotional
response and all of your painting skills.
Head and heart must work together,
must be in tune, and so let the painting
slowly take shape and fulfill the expec-
tations of the initial vision.
chapter five
BRUSHSTROKES
Make every brushstroke count
The importance of working with good
quality brushes and developing the
ability to make sensitive, economical
and descriptive brushstrokes cannot be
stressed too highly. Skills in using a va-
riety of brushstroke techniques – from
applying broad washes of color with a
big brush, to adding accents of color,
concluding with detail and calligraphic
lines using a rigger or small sable brush
– are one of the greatest assets a painter
can have.
chapter three
TECHNIQUE
Maximize your inspiration
through the use of innovative
technique
Technique is the means by which we are
able to translate ideas into successful, ex-
pressive paintings. Essentially, our tech-
nique relies on the various skills we have
developed for handling paint and ap-
plying it in the most appropriate way to
convey what we think and feel about the
subject matter.
chapter six
THE MAGIC
The creative force within us
The magical process of creating a paint-
ing, of expressing and communicating
an idea. And of course, there can be mag-
ic in the finished painting itself, in the
way that it can conjure up a certain place
and mood. Art can take many forms – de-
scriptive, poetical, expressive, illusionis-
tic and so on. It may come from our in-
ner being, our soul, or it could be purely
cosmic and intuitive. Whatever the force
that inspires us to paint, there should al-
ways be an element of magic!
chapter four
COLOR
Use the colors that most
express your personality
Color is all around us; it is a very pow-
erful and exciting part of our lives. Ev-
eryone responds to color. Usually it is
the first thing we notice when we look
at an object or a scene: we react to the
sensation of color before we are fully
aware of shapes and other qualities.
demonstrations
Australian Landscape
Boats in Cadaques
Circulo Militar,
Buenos Aires
Still life - StudiO
PLAZA MATRIZ
22 x 30” (56 x 76cm)
Plaza Matriz is a beautiful square in the city of
Montevideo. Again here, I found that working
on an initial charcoal sketch helped me simplify
details and concentrate on the essential design.
Generally, I prefer to make a tonal sketch, rather
than one in color, because it offers the freedom to
choose the best possible color palette for the final
painting – which in this case was totally guided
by the simplicity of the sketch.

TRAILER

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https://vimeo.com/ondemand/collinsstmelbourne/240445472?autoplay=1
acknowledgments
This project would not have been
created, without the encourage-
ment of you all, supporters and
friends, who through all your con-
tinuous “asks” gave me the strength
and inspiration to write it. Most
importantly, this book would not
have been concreted without the
countless hours of hard work of my
darling wife and life companion,
Ana Maria. This is “your” book as
well; words are not enough to ex-
press my gratitude to your com-
mitment and support.
Our sons, Gaston & Calvin, that
not only help with their existence
for motivation, plus also to help
me decipher how to work with the
computer!

And Debra Ashton, for her expertise and hardwork-

ing approach to concrete the book in a very restrict-
ed frame of time.

Through this book, I want to say THANKS!!

to you all. Hope you like it!

foreward
S OME TIME, about 20 years ago, I was
dropping off a bunch of watercolours to a
Gallery in Melbourne. I could hear some ac-
tivity in their large studio area where Work-
shops were regularly conducted so I en-
quired who it was that seemed to have a class
so whooped up. “Alvaro Castagnet,” was the
reply, “I’m sure that he would like to meet
you!” At that time the name meant nothing
“An artist should transmit with total honesty his feelings for the subject, with paint” Alvaro Castagnet
to me, but it certainly soon would! I was then
introduced to the dashing young Instructor,
looked at his vibrant demo paintings and
thought to myself “Wow! Watch out for this
guy, he is something very special!”........ and
isn’t that the way it has turned out?
Alvaro has firmly established himself as
one of the finest watercolorists in the world
today, gaining recognition in many countries,
winning prestigious awards and achieving
Membership status in the Australian Water-
colour Institute and the American Watercolor
Society.
While basically following a traditional ap-
proach to the watercolor medium he has in-
jected his own exuberant Latin personality
into his work, giving the paintings an excite-
ment which is uniquely his own.
There is nothing weak and wishy-washy
about the way he handles the medium, I guess
that I’d liken him to a swashbuckling pirate,
taking chances as he goes, plundering the sub-
ject to gain every last ounce of drama or ro-
mance for his interpretation and then leaving
us breathless with the final result!
Alvaro is now a good friend of mine and
I’ve watched his development with much in-
terest, as he has spread his wings and sought
a career on an International level. He joins
an exciting group of young artists around the
world who are taking watercolour to a new
high, helping to raise an acceptance and in-
terest in our beloved medium which has had a
rather neglected recognition for far too long.
No wonder Alvaro is called the Passionate
Painter!
Robert Wade
OAM, AWI (LM),
AWS, FRSA, PWS

PASSION, A KEY ELEMENT IN A
MASTERFUL WORK OF ART!
This is why I strongly believe that to paint well you must paint with passion.
So how can you paint with passion?
MERCADO del PUERTO I
22 x 30” (56 x 75cm)
Simple ideas often make great
paintings, and this is a good ex-
ample. I was having lunch at Mer-
cado del Puerto when I noticed the
waiter coming towards me, slightly
bent forward, counting the money,
and with his whole body shape lit
against the scene behind. I instant-
ly thought he would make the per-
fect subject for a painting. (Good
thing I always carry my camera!)
introduction
F
OR ME, painting with passion is the abil-
ity to reach within yourself and commu-
nicate the essential qualities of the subject in
your own individual way. And the way that
this is accomplished, I believe, is by going
beyond technique.
In my first book, Watercolor Painting with
Passion, I showed how to combine the prin-
ciples of technique with a powerful message.
It was published some time ago, and since
then no doubt my paintings have changed
and my technique has evolved. But my main
motive, the driving force to paint watercol-
ors, is still the same. It is to capture the es-
sence, the feeling, of the subject that I have
chosen to paint. I want to express it with com-
plete honesty, quality, and with the passion
that I feel when I paint with this medium.
Painting with watercolor is a truly absorbing
process and one that I greatly en-
joy. And that I have fun with!
So this book is an invitation to
go further – to explore the elusive
side of painting and go beyond
technique. With every subject, ex-
pressing its essence, its particular
sense of place, mood and atmo-
sphere, should be the main mo-
tive. Trying to express that is what
should encourage you to attempt
to conquer those aspects that can
be very mysterious in painting –
work that is evocative and shows
passion and feeling.
Many of the watercolors shown
in this book were painted on site.
Painting en plein air has certainly
helped me explore a new dimen-
sion inspiration and technique.
This is because when you paint on
location you have to work quick-
er, because the weather conditions
and the light and mood can change
rapidly. So your work inevitably
looks fresher, more spontaneous.
And this is why I would strongly
recommend plein air painting to
every artist. The benefits are tre-
mendous. Go out, paint without
fear, and enjoy yourself!
I mention fear because some-
times it can be such a strong feel-
ing that it inhibits the way that we
work. It stops us from exploring
and experiencing new things, try-
ing out new colors, washes, tricks
and so on. Do not deprive your-
self of such a rich experience for
the sake of fear. If you do make
mistakes, nothing is lost. Aim to
fix them, or just start again.
Let yourself be influenced by
nature, by the real world. It will
invigorate your work. And don’t
worry about your painting style. In
my view, a painting style develops
and matures naturally. It relies on
years of painting and practice.
MRS. LEE
22 x 30” (56 x 75cm)
So into her work, it was her expression
of being absorbed and fulfilled so pow-
erful and evocative.
 You may be surprised to
hear that I think it is always
important to feel a degree of
dissatisfaction with you work
– because dissatisfaction aids
motivation. I am never fully
happy with the paintings I pro-
duce, and this is precisely what
keeps me going and drives my
passion. It is always difficult
to successfully express on pa-
per what I had in mind for the
painting, but of course that is
the essential motivation. But
there is nothing quite like the
sense of satisfaction and plea-
sure that you enjoy when you
“know” that you have captured
what you wanted to say about
the subject, that it has actually
“worked”!
This is why I so ardently be-
lieve that your best ‘teacher’ is
your own work. What I mean
by this is that you can learn a
great deal by looking at and
evaluating your work.
Ask yourself these two main
questions:

What is wrong with it?

How can I make it better?

These are the questions that

I constantly ask myself and
I think it is from that sort of
analysis that I owe my im-
provements and consolida-
tion as an artist.
In this book, as well as dis-
cussing the main pillars that
sustain good painting prac-
tice, there is also an emphasis
on exploring and exploiting
your own philosophy as an
artist. You need skills in ba-
sic techniques, but equally it
is vital to believe in your own
insight, your own intuition.
After all, this is what will en-
rich a good work of art and
ensure that it is a timeless one.
 “We artist are imperfect and
paintings are the summary of the
perfect imperfection.”

Painting is definitely some-

thing that you need to feel a love
and passion for, and something
that you should enjoy. If this is so,
then there will be no difficulty in
immersing yourself into paint-
ing with full force. In consequence
your work will benefit and become
increasingly more individual and
successful.
I very much hope this book will
help you pursue your watercolor
painting with a stronger force and
tackle your subjects with greater
authority. Passion, quality and in-
tegrity – these are the key aspects to
focus on to develop your work and
take it to a higher level. So here’s to
all of you and the wonderful world
MELBOURNE VISTA
of the watercolor medium!
40 x 26” (101 x 67cm)
Enjoy it!
Mood is more important than detail. In this view of Melbourne, I
wanted to convey a sense of atmospheric perspective, showing the im- Alvaro
mense scale and all the rhythm of this city, without specific detail.

A PHILOSOPHY FOR PAINTING
Plan it in your head, but paint it from your heart
TANGO I
22 x 30” (56 x 75cm)
The tango is a dance of en-
ergy and passion, and this
is the feeling that I want-
ed to capture in this paint-
ing. He is standing still, she
is moving rapidly around
him. The sense of energy, the
movement, the spontaneity
of the dance, the passion –
these are the qualities that I
have aimed to express.
chapter one
A
RTISTS PAINT for many different rea-
sons. But what distinguishes the great
from the ordinary in painting is not neces-
sarily the content, degree of skill or power
of expression, but instead the thinking, feel-
ing, philosophy and associated qualities that
have motivated the work. Somehow, howev-
er subtly, these qualities must be evident in
the final painting, and so be communicated
to the viewer. The most intriguing, emotive
and enduring paintings have an inherent
sense of poetry, a meaning beyond the sub-
ject matter itself. They challenge our percep-
tions, play on our emotions.
Representational art has been the main
form of expressing ideas since the earliest
civilizations. However, if paintings are made
with the sole objective of recording subject
matter they can be predictably illustrative;
most likely they will lack originality and in-
tegrity. Such paintings tell us very little about
the artist and what he thinks and feels about
 BLUE TOWER
42 x 26”
(107 x 67cm)
There are lots of interest-
ing towers in Montevideo.
I made this painting from
a friend’s house, overlook-
ing the old town district. To
maximize on the impact of
the subject, I decided to con-
trast the carefully painted
tower with a much vaguer
and broadly-treated fore-
ground area.

“Follow your gut feelings, trust yourself, let your composition describe the subject,
the best possible way, and if something is not right, get rid of it!”
his paintings. In the present
age, and with changing atti-
tudes towards art, I believe
the only way we can make tra-
ditional, representational art
valid is to take it beyond the
obvious interpretation. We
have to be more intuitive and
explore aspects such as mood,
ambiance and feeling.
The power to capture the
essence of a subject with true
feeling will come from deep
within you, from your soul.
Although you can have lessons
on how to paint - on drawing
techniques, color theory and
so on – no one can teach you
how to paint your way.
Your art cannot be taught.
It develops as a result of a
commitment to your work:
it comes from your own re-
sources, from practicing, an-
alyzing, contemplating and
evaluating. So it is not some-
thing that you can simply ac-
quire from someone else.
Essentially, the way that you
learn to paint is by actually
painting. All the guidance and
help that you need is there,
within your own work. Your
work is your best tutor.
The greatest lessons are
learned from the experience
of painting and from careful
thought and deliberation about
your paintings. Allow yourself
time to think about and con-
sider each stage of working,
and approach it without fear
or preconceptions, because all
the answers you need to know
are already there, in your suc-
cesses and failures.
MERCADO del PUERTO III
14 x 11” (35 x 28cm)
I am always impressed by the glow
and the feeling of warmth coming
from a charcoal grill restaurant.
That feature is the essence of this
painting, and it plays the most im-
portant role in capturing the mood
and ambience of the scene.
 “The emotional
mind creates, and
the rational mind
explains it.
Another way of
saying this is, your
‘heart’ perceives
it and your ‘head’
translates it.”

TANGO PASSION
22 x 14” (56 x 35cm)
Through the in and out of
washes and the color scheme
of the painting, my aim was
to enhance the togetherness of
the dancers and the unity of the
painting.
Inevitably, if you only embrace
concepts and techniques belong-
ing to other artists, you will be
limited in developing your own,
distinctive style of painting.
Together with acknowledging
these points, the most construc-
tive way to develop your work is
by painting as often as you can.
The brain is an amazing organ:
once you believe in your thoughts
and establish a sense of direction
or a goal to strive for, you will find
that you can paint more intuitive-
ly. By painting freely and confi-
dently, eventually your thoughts
and painting will be as one.
Your most successful paint-
ings will be those for which you
can work with a real passion and
energy, knowing what it is that
you want to achieve. If you are
hesitant and fearful, those fears
will come true! Having said this,
every painting is something of a
discovery and you can never be
quite sure what will happen.
Artists who need certainty in ev-
erything they do are less likely to
make paintings that are interesting
and have real impact. So, always be
true to yourself and paint with con-
viction. Trust yourself, trust your
intuition, follow your gut feeling.
This is essential!
With confidence in your abili-
ties you will feel able to experiment,
paint freely, be bold and break the
rules. Be prepared to embrace sur-
prises and take advantage of chance
situations. Aim for work that is indi-
vidual and exciting. Plan it in your
head, but paint it from your heart!
MELBOURNE
22 x 30” (56 x 75cm)
I love this city; it has great subjects, es-
pecially downtown, as there are so many
beautiful old buildings. I used a very
small range of colors, mainly yellow
ochre and cadmium red and only a bit
of ultra….
 Ability without hard work is not
enough. Skills and techniques are a
good starting point, but without firm
objectives, discipline and applica-
tion, skills will count for little. When
you first start painting, it is natural
to focus on developing a good tech-
nique, with pure washes, attractive
colors, fine brushwork and so on. Ini-
tially the emphasis is on the painting
process, the art of making a paint-
ing, rather than self-expression and
adopting a subjective approach.
But increasingly, as time passes,
practice and experience will help
you develop as an artist. And you
will start to appreciate that true art
is much more than great technique
or being a good craftsman. Art must
engage feeling, mood, passion and
magic.
Once there is that realization, a
slow process of change begins. Then,
painting becomes more difficult per-
haps, because everything is second-
ary to the goal of capturing the es-
sence of each idea and in a way that
expresses your thoughts and feel-
ings about it. However, this challenge
makes painting all the more exciting
and enjoyable.
Naturally you will make mistakes;
no painting is ever perfect. Howev-
er, failure is always a useful way of
learning, so try to profit from your
mistakes. Similarly, learn to accept
criticism in the right way. Artists can
be particularly sensitive, but when
criticism is well-meant and it comes
from someone whom you respect, it
can be extremely helpful.
So forget about perfection, be-
cause that works against creativity.
Rid your approach of fixed ideas and
instead be open to new experiences,
to change. Paint with a clear resolve,
but always with excitement, enthu-
siasm and a willingness to learn!
BUENOS AIRES URBAN
SERIES I 26 x 40” (67 x 101cm)
It is great to capture the feel of a city...
in a different way, from the rooftops.
Many washes of soft yellow ochre
bleeding with grays.
TORTONI CAFE III
30 x 22” (75 x 56cm)
Again here, it is the particular
quality of light that is the real
subject of the painting, creat-
ing a sparkle and focus. With
interior subjects such as cafés
and restaurants, capturing
the feeling of light can be very
tricky, since there is often light
coming from several differ-
ent sources. In this painting I
concentrated on the contrast
between the general darkness
of the room and the far away
light background, the light
fixtures and of course with the
waiters adding interest.
URBAN SERIES II
40 x 26” (102 x 67cm)
Painting townscapes,
with lots of buildings, is
something that I great-
ly enjoy. This painting is
one from a series that I
have made of my home-
town, Montevideo. The
challenge with this type
of subject is to create the
sensation of many dif-
ferent buildings, in a big
city, without involving
any real detail – just us-
ing the watercolor medi-
um to suggest.
CAFE BREAK
30 x 22” (75 x 56cm)
Worked very much “alla
prima”, quick and not
too many details left the
man’s white shirt quite
bright, so the focal point
would be stronger.
SAN TELMO
B.A.
22 x 14” (56 x 35cm)
This painting won an
award at the NWS. I
love the atmosphere of
the old café bars, and I
try to visit them, every-
where I go. I find them
an exquisite subject to
paint. If they are old
and weathered so much
better!

In this case, the group

of old friends, chatting
over the news, the light
coming and bouncing
on the tables, and I ap-
plied my artistic license
and made the column
viridian green!
NEW YORK SERIES III
26 x 43” (67 x 101cm)
Here, I wanted to convey the busy and vibrant at-
mosphere of Times Square. I concentrated on the
yellow cabs, which I personally love, as they are
such a feature of the city. I used the strength of my
washes, their chromatic intensity, to enhance the
spirit and depth of the subject.

TRAILER

copy and paste URL into web browser

https://vimeo.com/ondemand/swanstonst/240512143?autoplay=1
HARBOUR BRIDGE I - SYDNEY
40 x 26”(101 x 67cm)
The Sydney Harbour Bridge, with its beautiful, massive metallic design, is a world icon. As I was
driving onto the bridge and was able to appreciate its imposing structure, emphasized by the
midday light, I thought it would make a very striking subject to paint. The challenge here was to
capture the essence and beauty of the structure and so create an exciting painting, without get-
ting bogged down in details.

RAINY DAY GLENFERRY RD

22 x 30” (56 x 76cm)
Rainy days are an inspiration! I chose a vertical format looking across this busy street, to em-
phasize the perspective and design. The lights from the cars and their reflection all work together
to maximize it. I think the magic here was to capture the reflection, and the “blurry wet look” of
the subject with broad washes, and not many details. I think it has a lovely abstract feel to it.
JOE
22 x 30” (56 x 76cm)
Joe is a well-known jazz musician who plays
in the streets of New Orleans. I was attracted
to his music and the passionate way he was
playing it, and this inspired me to paint him.
To capture the power and sense of expression
in his playing, I decided to concentrate on his
face, mouth and hands. I was delighted when
this painting won a High Winds Medal award
at the AWS, 2004. Incidentally, although I
called him Joe, I later found out that his real
name is Elliot!
DORREGO BAR
30 x 22” (77 x 57cm)
This is one of many popular ca-
fes in Buenos Aires. The light-
ing is subtle, creating a strong
sense of mood and atmosphere.
When I saw the light catching
the group of young friends plac-
ing their orders with Manuel,
the waiter, I thought it would
be a lovely story to tell. (By the
way, if you ever go there, I rec-
ommend a beer with some of
their delicious nuts!)
TORTONI CAFE II
(Sketch)
22 x 14” (56 x 35cm)
This sketch gave me the in-
spiration and confidence to
produce the much larger work
which you can see on the next
page. Notice how I have used
a certain amount of ‘artistic
license’ to change the color of
the waiter’s jacket and add
touches of red throughout
the painting and so create a
more harmonious composi-
tion with greater impact. I
just loved it!
CAFE TORTONI
SERIES I
22 x 14” (56 x 35cm)
This is one of many paint-
ings that I have made of
the Café Tortoni. It is a fa-
vorite place of mine, and
I always spend some time
there when I visit Buenos
Aires. It is a typical Argen-
tinean café, full of atmo-
sphere and activity. I liked
the wonderful contrast be-
tween the light values in the
foreground and the dark
background. As well, I liked
the sense of movement with
the waiter and the different
customers, all the objects
on the marble tables, and
of course the chance to use
some red on the beautiful
leather chairs!
TORTONI CAFE
42 x 30” (107 x 77cm)
In this painting, red is the
predominant color, giv-
ing a strength and unity
to the whole composition.
There is some red in every
color mixture. The un-
painted white areas in the
foreground help to lead
the eye into the painting.
 chapter two
Trust your instinct and imagination
OVERVIEW
25 x 40” (65 x 101cm)
Dealing with buildings in paintings
is one of my greatest pleasures; in this
case, this is one of a full series I have
done of my hometown Montevideo. The
challenge here is to achieve the sensa-
tion of lots of interesting buildings, in
a big city, without falling into details,
using the watercolour medium just to
suggest. This painting won an award,
in 2010, at the Shanghai Zhujiajiao
International Watercolour Biennial.
IDEAS
A
RT BEGINS with an idea, a mental im-
age that you feel strongly about and
compelled to express. Embracing that new
idea, and developing it to a successful out-
come, requires both an emotional response
and all your painting skills. Head and heart
must work together, must be in tune, and
so let the painting gradually take shape and
fulfill the expectations of the initial vision.
Essentially, painting is concerned with in-
terpreting an emotional reaction, an inspi-
ration, using shapes, colors, lines and move-
ment. At the beginning of a painting you need
to be at the highest level of sensitivity and re-
sponse, developing a dialogue with the work
that is intense and passionate. In this phase,
you should be so involved in your work that
nothing else matters – you won’t be aware
of time, or even aware of yourself! The only
thing that should concern you is the sheer
pleasure of painting, with all the challenges
and rewards that comes with it.
 So, you need to be focused about
your painting and have a clear vi-
sion, a strong idea in mind. This is
the key to creating something with
real impact. Decide on what you
feel is important about the subject
matter – what you would like to
capture and convey about it – and
stick with that objective. In turn, it
will guide the progress of the paint-
ing from start to finish.
However, within that objective,
as you work, don’t be afraid to em-
brace surprises and mistakes and
make the most of these if they will
help enhance the impact of the
painting. Sometimes it is wise to
accept uncertainties as virtues. But
don’t be swayed from your initial
concept and motivation for the
painting. Build on that as you inter-
pret the subject. Keep the work de-
cisive and uncomplicated: simplic-
HARBOUR BRIDGE II ity is something that artists must
40 x 26” (101 x 67cm) always strive for in their paintings.
The massive iron work was very inviting and a nice challenge to paint, The challenge of each new idea is
the road works as a nice “lead up” to it, the rest is a bit out of focus, mak- the driving force in painting: some-
ing it softer to the eye, and to present a contrast to the rigid iron work… thing will excite the artist’s imagi-

CADAQUES
22 x 14” (56 x 35cm)
A quick painting done on site. The weather was gorgeous, sunny
and hot. I wanted to portray the beautiful Cadaques village, and
concentrated on the strong shadows in the foreground, to maxi-
mize the perspective and add drama to the subject.
nation and inspire him or her to paint
it. But of course, having started with
a certain idea, it can be very difficult
to capture its full intensity within the
constraints of a painting. Yet inter-
estingly, this is one reason why artists
continue to pursue the challenging act
of painting. They relish its demands,
savour its rewards, and are continu-
ally wanting to achieve higher, more
accomplished standards of work.
It is a great feeling when you em-
bark on a fresh challenge. Artists are
sensitive people and as such they are
very receptive to new ideas and the
inspiration and excitement that ac-
companies them. Imagination is an-
other important factor in this process,
as it enhances the ability to convey the
most powerful expression of mood
and atmosphere. It is what I would
describe as a dream-like quality, as in
fact creativity is, in a sense, a conse-
quence of dreaming. At the moment
of inspiration the degree of potential
creativity is at its greatest, I think.
And this is why I would advise that
you start painting straight away.
When you discover a subject that
excites you, something for which you
sense an affinity and feel strongly
about, it offers a tremendous oppor-
tunity for personal, expressive work.
And from the beginning, working in
conjunction with your response to
the subject, observation and imagi-
nation will be vital factors.

SANTIAGO de COMPOSTELA
14 x 11” (35 x 28cm)
For this large painting of Santiago de
Compostela, the capital of Galicia, a
beautiful city in north-west Spain, I
chose a dramatic perspective view of the
main pedestrian crossing, which is situ-
ated just on the edge of the old town. I
wanted a view that would encompass the
lively activity of the city and at the same
time direct the eye towards the wonder-
ful, historic buildings.
 For without imagination there
can be no work of art. Equally,
as the painting begins to take its
course, your painting skills, expe-
rience and knowledge will assume
increasing significance.
Once you have a strong desire
to paint something, it is very im-
portant that you exploit that ex-
citement and vision by immediate
action, by working with observa-
tion, feeling and integrity. This is
the approach that will lead to the
most meaningful, personal and ex-
pressive results.

ANTWERP STATION
22 x 14” (56 x 35cm)
Antwerp station is a great place to paint.
So impressive, full of action, mood and
sounds..... Again, the massive structure
in iron was a challenge and a great back
drop, for this painting. I worked on the
trains with details but in loose fashion,
following the same abstract expression.
 In contrast, painting simply for the sake of
painting is not likely to produce anything very
rewarding or exciting, because it will lack in-
spiration and creative energy.
Let your feelings about the subject matter
and your responses to the painting govern the
working process. Put aside any pre-conceived
ideas you may have had about what you are
painting and what makes a successful work of
art. Trust your instinct; be intuitive. Remem-
ber that if the subject matter does not ‘speak’
to you and fire your enthusiasm to paint it,
then inevitably the finished painting will re-
flect this and look ‘worked’ rather than creat-
ed with sensitivity. Also, a more intuitive style
of painting will suit the inherent character of
the watercolor medium and the way that it re-
sponds best.
Idea followed by action is the essence of the
painting process. Generally, the most reliable
way to develop an idea is by first adopting a
considered, contemplative approach. This will
help trigger your thoughts and imagination:
MONTEVIDEO PORT
think, feel and then paint. Begin by getting to
30 x 22” (75 x 56cm)
know your subject. Find out as much infor-
Here, I decided to focus on the two tugs as the main areas of interest in the painting, but at mation about the subject as you can, before
the same time aiming to capture the essence and atmosphere of this busy, industrial port. working on the painting.
 You may find it helpful to start
with some sketches to explore dif-
ferent ideas and approaches. For
example, you could experiment
with several color sketches, using
different color ranges, and from
these decide which one will be the
most appropriate for the subject
matter and how you wish to inter-
pret it.

BOURLA CAFE IN
ANTWERP
30 x 22” (75 x 56cm)
Another café scene and again plenty of
atmosphere and contrasts of light and
dark, warm and cool colors, and com-
positional features to create interest in
the painting in this case the dancing of
the brush work and the use of drops of
water to create lots of different objects,
without having to “draw them”.
 Similarly, you could use a sequence
of sketches to help you reach decisions
about the composition, which is anoth-
er element that has a tremendous influ-
ence on the impact of a painting.
During the painting process itself,
the challenges are twofold: there is the
emotional challenge in capturing with
feeling the mood of the subject and the
sense of place; and there is the chal-
lenge of mastering technique, and so
enabling the vision for the painting to
be expressed confidently and success-
fully.
Perfecting their technique is some-
thing that all artists strive for. We would
all like the skills that would allow us to
convey on paper the vision for the sub-
ject exactly as we perceive it. In my own
case, for example, when I first started
painting, I remember that my ambition
TIMES SQUARE, NY II SERIES was to develop an impressive technique!
22 x 14” (56 x 35cm) Mastering technique is complicated and
There is so much to see and do in Times Square. It is a truly inspirational place. As in any takes time, but it is usually achievable.
painting, success in capturing a subject like this depends just as much on what you decide to This is more than can be said for the
leave out as on what you decide to put in. Here, I wanted to concentrate on the foreground ac-
difficulties involved in communicating
tivity: I wanted that to be the focus of attention. To help achieve that effect I worked with broad
mood and emotion within the painting,
washes and some texture, avoiding defined shapes, to ‘push back’ all the busy foreground.
which is a far more complex issue.
 You may think that technique
must abide by certain rules. But
there are no definitive rules in
painting: every painting is differ-
ent and because of this it sets its
own parameters and demands.
In effect, as soon as you apply the
first brushstrokes, you start defin-
ing the limits within which you are
going to work and the general pro-
cedure for the painting. The mo-
ment you place the first drops of
color on the paper, you begin to
set up a dialogue between yourself
and the painting.

ESSAOUIRA
30 x 22” (75 x 56cm)
At the end of market day in the beauti-
ful town of Essaouira it was still very
colorful and interesting, and I thought
the perfect time to paint, as it was much
quieter. The figures stood out particu-
larly well against the dark arcades.
ESSAOUIRA,
MOROCCO
22 x 14” (56 x 35cm)
This is a quick sketch which I
made on site, looking towards
the market in the beautiful
village of Essaouira, Morocco.
It was my very first painting
there. When you arrive at a lo-
cation like this there is so much
to see and absorb. I think the
best thing to do is grab your
paints and brushes and make
a start on something. Don’t
spend a lot of time looking for
a ‘winner’, just put down some
colors and aim for the essence
of the scene. Work with pas-
sion and have some fun. You
can always develop the sub-
ject later, when you are back
in the studio.
I would say that when the
idea is strong, and you
have a clear vision, then
the technique will follow
the idea. Always the power
of your work will be your
vision, and this in turn will
encourage the right work-
ing methods. Check also
that the idea is worth pur-
suing. Is it strong enough
to make an exciting paint-
ing, and will it sustain your
interest and enthusiasm
throughout the whole pro-
cess? It will, if the vision is
there and you have a real
desire to work on it!
FLINDER ST STATION
22 x 14” (56 x 35cm)
This painting is all about the hustle and bustle of a busy
rail station. To capture that effect, I have concentrated on
the people, crossing the street, or hurrying to work or to
catch the next train.
TIMES SQUARE, NEW YORK SERIES I
30 x 22” (75 x 56cm)
Times Square is always full of interest. The challenge is to
make a simple, effective painting from what is essentially
a complex subject. Notice how I have isolated the figure in
the foreground to create a strong focal point. Also I have
used dry brushstrokes to add a sense of movement to the
figure and help accentuate it. These brushstrokes create
a lovely contrast against the surrounding washes. Taxis
are a characteristic feature of New York, so I always in-
clude them.
 “I notice I always end up with
a much better painting when I
let myself go with the flow, bold,
free, aggressive and kind of
“couldn’t care LESS”.

URBAN SERIES
MONTEVIDEO
43 x 26” (110 x 67cm)
The idea of this painting was to
reflect a “big city busy lifestyle”,
with lots of interesting archi-
tecture. But instead of making
“that” the focal point, I went for
a very small section.....like “cut-
ting out a little piece of “life” in
the big city. I reflected the de-
tails around the pedestrian
crossing, and zoomed in on the
focal point, leaving the numer-
ous buildings at rest; treating
them very loose, with big broad
washes - depicting just shapes,
and shadows casting from roof-
tops, buildings, etc.
LA PARRILLITA
40 x 26” (101 x 67cm)
La Parrillita, in Montevideo is
owned by my best friend, Daniel
Vinoly. I go there often; it feels
to me almost like my second
home. I take the family, meet
with friends, eat great food, talk
about soccer, and I have a great
time. The restaurant was very
cozy, but small, so, after a few
years, Daniel moved to a larg-
er premise. And so, I took this
opportunity to paint the “old”
Parrillita, and give it as a gift,
in the opening of the new place.
You can see Daniel standing
attending to orders and yes, it
is me, sitting down, having a
chat. I used a very loose tech-
nique, with smoke coming out
of the fire, and reflections on
the wall, and drippings on the
foreground tables. I had a lot of
fun painting it, just like when I
go there!

FRANK (Sketch)
14 x 22” (35 x 56cm) OIL PAINTING
This is Frank, a great friend of mine. He
was my neighbor when I lived in Aus-
tralia. Frank is a house painter, and he
often used to come round at the end of
the day to have a chat about things. One
day, when I was experimenting with oils,
I ended up making a small, quick paint-
ing of Frank with a brush in his hand.
I felt very comfortable about paint-
ing him, because of our friendship,
and I am really happy to include the
painting in this book.
Of course, as a watercolor painter I
have always been used to working
from light to dark. But when I tried
oils I had to work in the opposite
way, from dark to light - this is the
fundamental difference between the
two mediums. So, in this painting I
began with the shadows on the wall
and the face, and when I had placed
these dark values, I was able to judge
the middle tones and highlights. In
particular, I felt that by adopting a
tonal approach to the face, and con-
centrating on the main shapes and
colors, I could capture Frank’s look
and personality.
NEW YORK SERIES II
40 x 30” (102 x 77cm)
There was so much to say about this subject, so I just got on with it!

TECHNIQUE
Maximize your inspiration through the use of innovative technique
TANGO
PASSION II
22 x 30” (56 x 75cm)
Again here, it is the in-
tensity, color and passion
of the dance that I have
wanted to convey, work-
ing with a warm color
palette and strong con-
trasts of tone and color.
chapter three
T
ECHNIQUE IS the means by which art-
ists are able to translate ideas into suc-
cessful, expressive paintings. Essentially,
your technique will rely on the various skills
you have developed for handling paint and
applying it in the most appropriate way to
convey what you think and feel about the
subject matter.
However, although technique is obvious-
ly very important, it should never be allowed
to dominate the painting process. Instead, it
should always play a supporting role in en-
abling individual expression. In fact, if the
technique is sound, it will go largely unno-
ticed in the finished painting, because it will
have conveyed the emotional impact of the
work so successfully. Ideally in your paint-
ings, in the first instance you will want the
viewer to be captivated by the narrative and
mood rather than the technique.

MONTEVIDEO PORT
(Charcoal sketch)
22 x 14” (56 x 35cm)
I quite often make a sketch in charcoal before starting
on the painting. I find this is a great help in working
out the important shapes within the subject, and the
contrasts of soft and hard edges. Sketching is particu-
larly useful when, as here, the subject is difficult and
challenging. The busy, industrial port of Montevideo
was a complex subject to tackle, and the initial char-
coal sketch proved invaluable when, subsequently, I
worked on the watercolor version.
APPLECROSS (Sketch on site)
14 x 11” (35 x 28cm)
For this color sketch, of the attractive little town of
Applecross in north-west Scotland, I worked with a
color scheme very much based on burnt sienna – a
limited palette consisting of ultramarine blue, burnt
sienna and alizarin crimson. If you look carefully,
you will see that there is a very smooth transition
from a weak burnt sienna wash in the distance, to
a much darker version in the foreground. I liked the
challenge of representing the rocks with different
shapes and coordinating them for maximum impact.
And in the background I have suggested something
of the architecture of this beautiful part of the world,
creating a sense of depth.
This is how Camille Pissarro
spoke of technique: ‘As far as ex-
ecution is concerned, we regard it
as of little importance. Art as we
see it does not reside in execu-
tion: originality depends only on
the character of the drawing and
the vision peculiar to each artist.’
Naturally you will always be
wanting to improve your mastery
with the materials that you work
with. Skills in technique can be
learned and acquired to some ex-
tent, but equally your confidence
in using watercolor or other paint
media will grow with time and
through hard work, lots of exper-
imentation, and the determina-
tion to turn failures into triumphs.
Like a flowing river, your tech-
nique will be continually chang-
ing, evolving.
In the same way that you have
your own style of handwriting,
equally it is of paramount im-
portance to develop a distinctive
painting technique - what might
be called your ‘fingerprint’ in art.
FISHERMEN’S
END OF DAY
30 x 22” (75 x 56cm)
This lively beach scene was full
of light and atmosphere. I de-
cided to focus on the foreground,
where the fishermen were chat-
ting before they went home for
the day. I have used a variety of
brushwork effects, particular-
ly for the water and the boats,
which I wanted to avoid look-
ing too rigid in execution. And
to add to the impact, I used big
shadows to contrast with the
light areas. I think this exam-
ple encapsulates the important
elements necessary for a quick,
small painting of this type,
namely: strong design with bold
shapes; simplicity; and a free,
“alla prima” approach.
The factors that determine this
‘fingerprint’ are your acquired
skills, experience and knowl-
edge, combined with your own
initiative.Your technique should
be exuberant, uninhibited and
individual.
Practice is vital. The more
you paint, the better your tech-
nique will become, and conse-
quently the more successful you
will be at expressing your ideas
in a convincing, fulfilling way.
Your technique will develop as
a direct consequence of the act
of painting. Every painting is a
new experience that will add to
your knowledge and your skills
and understanding of the water-
color medium. What you learn
from one painting will inform
the next. Also, from practice and
experience, you will gain con-
fidence, which is another very
important prerequisite when
painting.
A sound technique will en-
able you to focus on the essen-
tials. In painting, it is often the
more direct, spontaneous ef-
fects that have the greatest im-
pact. Achieving more with less is
imperative: simplicity is a must.
Like other forms of art, painting
is usually more successful when
it is focused, exciting, imagina-
tive and enjoyable, and that re-
quires economy of technique.
Painting should always be a
very personal, unique, free and
natural expression of ideas; a way
of working that is not governed
to any significant extent by pre-
meditated conditioning or meth-
odology.
VENICE
30 x 22” (56 x 75cm)
A painting like this is a great occa-
sion just to work with simple shapes
as the buildings and background dic-
tates and develop an “automatic” fo-
cal point with the interest of the fig-
ure, walking towards the foreground.
Simple and easy to execute!
 “Establish a tonal field,
and stick to it.”

DOWNTOWN
MELBOURNE III
30 x 22” (75 x 56cm)
This is a very busy part of Mel-
bourne, and what I wanted to
capture in this painting was the
movement of all the bicycles as
they sped off immediately the
traffic lights had changed. In
the background you can see the
profile of Flinders Street Sta-
tion. The handling of the brush-
strokes played a very important
part in this painting – for ex-
ample, in suggesting windows
and other architectural features
without drawing every detail,
and in placing the foreground
shadows, for which I used broad,
fairly dry brushstrokes.
 In my view this is the es-
sential difference between
painting and some craft ac-
tivities, in which it is possible
to reproduce items that are
more or less identical in their
form and finish. In painting,
the technique is the craft as-
pect, the vehicle for express-
ing your ideas. But you will
need to be more than simply
a good craftsman: you will
need to work with imagina-
tion, personality and passion.

COOKING
30 x 22” (77 x 57cm)
The atmosphere in the small,
Chinese kitchens is fascinating. I
tried to paint as fast as they could
cook. I did the minimum drawing
and concentrated on the main fo-
cal area, with its splash of red and
the cooking vapors.
WORKING KITCHEN
30 x 22” (76 x 56cm)
Watercolor is the ideal medium
for this type of subject, in which
you want to capture a particu-
lar moment in time and a dis-
tinctive mood. In this painting
the moment is when the waiters
at the Charcoal Grill restaurant
are collecting the food, ready to
take it to their customers. I have
treated everything in quite broad
terms, including the faces. How-
ever, there is just enough sug-
gestion, I think, through little
touches, to represent the facial
features and capture character
and gesture.
 If you rely too much on tech-
nique your paintings will lose their
emotive quality and their sense of
integrity. There can be a tempta-
tion to repeat certain effects that
are always reliable, rather than as-
sessing the individual needs of the
painting in respect of the three key
elements of technique – drawing,
brushwork and color. You must
aim to resist that temptation.
Drawing is an essential skill for
all artists. It is interesting to note
that the more freedom you seek
with your paintings, the more de-
veloped your drawing skills need to
be. A successful painting will always
start with sound drawing. This cre-
ates the framework for the painting
and will encourage the confidence
to adopt a more relaxed, expres-
sive approach when considering
brushstrokes and color.
In summary, technique is the
tool that artists use to bring their
ideas into reality, to express them
in a form that can be understood
by other people. It is a tool that
we gradually develop through the
years of painting. As our ideas be-
come more sophisticated, so must
our technique. It is something that
we must keep working at, for it will
never be perfect. What is more, to
create really good paintings, we
need to support technique with an
ability to improvise and be inno-
vative.
TANGUEROS
14 x 22” (35 x 56cm)
Loved going to Tango shows in Buenos
Aires. I took a photo with my iPhone,
I really liked the couple, I had it in my
mind.... my photo was not good qual-
ity, but I had the “sensation” in my
mind.... I worked very quickly, with
mainly two colors, blue grays and red.
The emphasis is on their movement
and their faces.
PAINTING IN THE
RAIN: SCOTLAND
14 x 11” (35 x 28cm)
I was in Scotland with
some friends, and had
just finished a demonstra-
tion painting. When they
in turn started to paint, it
looked such a great subject
that I had to make a quick
sketch. As so often happens
in Scotland, it soon started
to drizzle, and that is why
some of the textures in this
painting have been slight-
ly enhanced!

“BE FREE, paint for self-indulgence, the pity aspect of being a painter is that we
have been bombarded since the age of five to think logically with lots of don’t and
do’s. We intellectualize everything and art is the opposite; ART IS INSIGHT, it
doesn’t exist. Try to undo everything you know and for the sake of it!”
FITZROY - MELBOURNE (Sketch)
14 x 11” (35 x 28cm)
This sketch was done very quickly on a hot, sunny day,
working from an appropriately warm color palette. Dry
brushwork enhances the strong sense of sun and heat.
STUDIO PRACTICE
22 x 14” (56 x 35cm)
Gaston and a couple of friends came to my studio, to
practice a few techniques in oil and w/c, as they had a
subject at school. I let them have my table, and while
seating waiting for them to finish. I resolved a very
complex foreground, letting the water run, applying
splashes of pigment, to create interesting texture, with-
out adding details. It was a very cold rainy day, the
studio was a bit dark, and created great mood.
WATERSIDE HOTEL
MELBOURNE
30 x 22” (76 x 55cm)
Melbourne is a very dynam-
ic city, and this is a statement
of its changing face. Contrast-
ing with the old pub in the fore-
ground, you can see some of the
new development of the dock-
lands area.
SAN TELMO
30 x 22” (76 x 56cm)
San Telmo is a beautiful square in the city of
Montevideo. Again here, I found that working
on an initial charcoal sketch helped me simplify
details and concentrate on the essential design.
Generally, I prefer to make a tonal sketch, rather
than one in color, because it offers the freedom to
choose the best possible color palette for the final
painting – which in this case was totally guided
by the simplicity of the sketch.

RAINY DAY
IN BERLIN

TRAILER

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https://vimeo.com/ondemand/alvarocastagnetberlin/80311631?autoplay=1
 chapter four
Use the colors that most express your personality
AFTERNOON GLOW
26 x 40” (67 x 101cm)
Although the inspiration for this paint-
ing was the gorgeous sunset reflection,
essentially it is a painting all about
red. The red light that invigorates the
painting creates impact through the
richness of the color itself and also
through the different techniques in-
volved in applying the color. These in-
clude dry, thick brushstrokes as well as
dribbles of color and soft washes that
reveal the fluidity of the medium.
COLOR
C
OLOR IS all around us, it is a very pow-
erful and exciting part of our lives. Ev-
eryone responds to color. Usually it is the first
thing we notice when we look at an object or
a scene: we react to the sensation of color be-
fore we are fully aware of shapes and other
qualities.
In painting, color is always significant be-
cause it has the ability to stimulate emotions
and convey feeling and mood. However, it
cannot be considered in isolation – it has
to work in relation to other factors such as
composition, drawing and technique. When
painting, all of these elements are equally
important. There is no single element that
creates a great painting.
Color is significant in that, no matter how
perfect the composition and other elements
might be in a painting, if the color scheme
fails, the painting will fail with it. And, of
course, tonal values are an integral part of
this process. Wherever you see dif-
ferent tonal values, equally you are
looking at color, because tonal val-
ues are simply how light or dark a
color is.
Color adds passion and expres-
sion to a painting. Consequently, it
has a direct influence on the way we
react to paintings. If, for example,
the colors are bright and exhilarat-
ing, they will, in turn, make us feel
excited and elated. With the right
colors and the skill of the artist, we
can sense the warmth of the sun in
a painting, enjoy the magical qual-
ities of light, experience the effect
of rain, and so on. For every artist
who wishes to work in a traditional,
representational way, being able to
handle color to achieve mood and
atmosphere is an essential skill.
Each artist has a unique, intui-
tive response to color. We are all
individual: we think and feel differ-
ently and consequently we choose
different colors. The reaction to
color is a very personal matter and
something that should be reflected
in your choice of a color palette. Use
the colors that most express your
personality that touch your soul!
For those who are just beginning
with watercolor, the key to develop-
ing a good color sense and an ap-
propriate color palette is to work
initially with just a few colors and
experiment fully with these. Grad-
ually, you can introduce other col-
ors, as you gain confidence, and so
develop your own, distinctive color
palette. I use only six or seven colors,
plus two or three extra ones when I
am painting people.
BEACH SCENE
26 x 40” (67 x 101cm)
Australia, great beaches, the vista was
great, the reflections on the sand, the
green water and the eucalyptus bushes,
with their blue/green colors.
“There is never a BAD subject,
if you have the right vision,
you’ll turn anything into a
work of art!”

LAST LIGHT
BUENOS AIRES
14 x 11” (35 x 28cm)
This is a little sketch I did in the
streets of Buenos Aires, when
on the South American Winter-
lude Painting Group trip with
my friends Nick Canosa, Pat-
rick Carroll, Herman Pekel and
Joseph Zbukvic. We were com-
ing back to the hotel after a day’s
painting, when I saw this strik-
ing view, and I decided to give it a
go. It had to be quick, as we were
hungry for dinner! The quali-
ties I most like about this sketch
are the muted colors and the very
limited palette.

This is why, when I discuss col-
ors, I prefer to keep to general terms
rather than advocate specific colors.
For it is far better that you find the
particular warm red that you like,
for instance, or the earthy yellow,
than simply choose the colors that
I use. In fact, the names of colors,
such as Indian yellow, are not that
important. What matters is that you
are able to recognize the color tem-
perature and characteristics so that
you can select and use different col-
ors to the best effect. And, perhaps
contrary to what you would expect,
working from a limited palette of-
ten has more impact than using lots
of colors.
It is your expressive power with
color, rather than the range and in-
tensity of colors that is important in
your paintings. The key to success
isn’t necessarily very colorful paint-
ings, in which, essentially, color has
been used for its own sake. Instead,
impact will come from a sophisti-
cated use of color – mood achieved
by the considered selection of just
a few hues.
In every painting, I think there
should be one color above all oth-
ers that sets the mood and creates
a sense of unity, a color that helps
to maximize the vision of the art-
ist. For me, grays are always signif-
icant colors. In everything around
us there is a combination of very
delicate grays, and when painting
I always try to capture those subtle
effects.
“Technique should be entirely
subordinate to the
demands of your emotions.”
VENICE (Sketch)
14 x 22” (35 x 56cm)
To maximize on the impact of the sub-
ject, I decided to contrast a very vague
background, just the silhouette of the
church, then carefully painted the posts
with a much vaguer and broadly-treat-
ed foreground area.
 You might think that a painting which
involves grays will be dull and uninter-
esting. But, with sensitive treatment and
a good balance of warm and cool grays,
any painting will glow and look stunning.
For mixing the different grays, I often
make use of the leftover color on my pal-
ette. Once I have started painting I sel-
dom clean my palette, because I know
that any surplus color, if included in the
mixes, will be harmonious to those al-
ready used. The scope for color mixes is
infinite, of course, and in this context it is
the amount of water used that is always a
crucial factor in creating interest, variety
and subtlety.
My advice is to avoid using color
straight from the tube. Colors that are not
mixed or blended will result in crude, un-
sophisticated paintings. Instead, explore
TWILIGHT on the SENA the use of secondary colors, tertiaries,
22 x 14” (56 x 35cm) and different hues, color temperatures,
values and so on. This will help you de-
The appeal of this subject was its simplicity, both regarding the composition, with its sil-
velop paintings that are personal, expres-
houetted shapes, and the very limited color values. As far as I can remember, I only used
sive and evocative.
two colors: ultramarine blue and burnt sienna. So, even with just two colors you can
paint an entire subject in watercolor, full of atmosphere and mood. It is a great medium!
LUNCH BREAK
22 x 14” (56 x 35cm)
I see this scene very often, as my
studio is located near the busi-
ness district in Montevideo. At
lunch time, the restaurants are
full of office working people. The
light was reflecting on this busi-
ness man’s chest, his red tie was
glowing.... To break a muted col-
or scheme, I placed a strong red
pigment on his tie, then, I worked
on the table’s mess and the back-
ground, with washes and dry
brushstrokes with no particular
shapes...just texture insinuating
some objects ....I let the light do
its work!
 As well, it is helpful to study the
basic color theories and gain an
understanding of how to achieve
different shades and tones, for ex-
ample, and how these are influ-
enced by the quality of light. And
similarly, with a knowledge of cool
and warm colors, you will be able
to create the illusion of form and
space in a painting and capture the
sense of place.
But above all, with color, as
with other aspects of painting, you
must be true to yourself and the
way that you want to express your
ideas. Picasso once said that: ‘When CAFE CHICAGO II
I haven’t any blue I use red.’ Essen- 22 x 30” (56 x 75cm)
tially, the most successful paint- The reflections of the light on
ings do not rely on the choice of a the wall are what attracted
particular color: it is the sensitiv- me to this subject. What helps
ity in handling color, the way it is to keep the painting simple
used, that is the more important and flowing in all aspects, is
factor. Whatever the subject mat- its homogeneous palette. The
ter, it is color that adds the charac- painting is united and the
ter, mood and feeling. ambiance is enhanced.
 PLAZA INDEPENDENCIA GIRONA
(Sketch)
22 x 14” (56 x 35cm)
This quick demonstration painting was made
with a limited palette of warm colors, predomi-
nantly yellow ochre’s. The speed and flow of ex-
ecution worked well in helping me link all the
shadow areas and emphasize the lights. For the
richest darks I used a blend of ultramarine blue,
burnt sienna and alizarin crimson.

DORREGO CAFE
14 x 28” (35 x 28cm)
I did a full series of this subject. This is a small and one of the first in the series. The subject
really kept my interest, as there were so many aspects to exploit. Here the brushwork has
a lot of fluidity with constant finding the negative shapes....the colors even though are al-
most all muted, some splashes of rich red, or bright yellow, creates a degree of excitement.
TWILIGHT
FITZROY
40 x 26” (101 x 67cm)
After an enjoyable game of
Snooker with my friend Jo,
walking back to his house, I
noticed this subject which, in
the evening light, was truly
inspirational. Catching the
reddish glow of the sunset, the
shapes of the buildings were
very striking, and it was a
great pleasure painting them.
Again here, it was the dramat-
ic contrast of light and dark
values that I liked, particular-
ly the big, broad shadows in
the foreground, which add to
the effect. Accordingly, I chose
a limited palette consisting of
burnt sienna, yellow ochre, ul-
tramarine blue and alizarin
crimson.
TANGO LESSON
30 x 22” (75 x 56cm)
Tango salons, where tango les-
sons are given, are often dark,
moody places, and this is the ef-
fect I sought to achieve in this
painting. To add impact to the
subject, I decided to dress the
man in a white jacket, so creat-
ing a stark contrast to the sub-
dued lighting effect.
MOROCCO
30 x 22” (77 x 57cm)
I found Morocco a land of beau-
ty and surprises. At every step I
was impressed by the culture, the
people, the shops and the gener-
al way of life. I could see that the
hustle and bustle and the color-
ful clothing were qualities that
would make wonderful subjects
to paint. I liked the way that
people would stop for a casual
chat with their friends, when
they had a chance to meet in the
middle of the street. Again here,
it was the red color that gave im-
pact to the subject.
SUNSET,
25 de MAYO ST
11 x 22” (28 x 56cm)
Here, my aim was to ex-
press the warmth and the
special effect of light as
it happened towards the
end of the day. I delib-
erately chose a tall, nar-
row shape for the paint-
ing, because I wanted to
exploit the long shadows
and add to the drama of
the light.

WALTER
14 x 11” (35 x 28cm)
Walter, an old friend of mine from Canada, was waiting for me in the hotel lobby
in Bagno Vignoni, Italy. He was dressed in a very artistic way, and I thought he
would make a perfect subject to paint. Notice that I have made the background
very dark, so that the emphasis is on the figure.
 chapter five
BRUSHSTROKES
Make every brushstroke count!
NICE
22 x 30” (56 x 75cm)
Nice is a wonderful city, and on a crisp,
sunny morning I came across this striking
scene. The sunshine was strong, creating
interesting shadows, everywhere. I worked
very loose on the background, mainly with
washes; the only shape I kept was the beau-
tiful tower. The light coming towards the
foreground, develop an “automatic” focal
point with the interest of the figure, walk-
ing towards the cafe. I worked on “staccato”
(chiaroscuro) approach on the awning, to
create a maximum impact and feel of light.
I used the same principle on the waiters and
his shadow on the floor, this creates a sense
of unity in the painting.
T
HE NEED to work with good quality
brushes and develop the ability to make
sensitive, economical and descriptive brush-
strokes cannot be stressed too highly. Skills
in using a variety of brushstroke techniques
– from applying broad washes of color with
a big brush, to adding accents of color, detail
and calligraphic lines with perhaps a rigger
or small sable brush – are one of the greatest
assets a painter can have.
These skills will take time to acquire. In ev-
ery painting you have to be continually aware
of the brushstrokes you are making, because
they are the principal means of resolving the
complexities of the subject matter and con-
veying your ideas about it. But be economi-
cal, make every stroke count! Adding more
and more brushstrokes, in the hope of find-
ing a magical one that will give the painting
exactly the kind of impact you want, is never
the best approach. It will inevitably lead to a
tired, overworked painting.

“Passion should overwhelm reason
time and again.”
BON MARCHE
22 x 14” (56 x 35cm)
As here, I like contre-jour subjects in which
I can concentrate on simple, interesting
shapes, conveyed with just a few brush-
strokes and enhanced by contrasts of coun-
terchange – dark shapes against light, and
vice versa. Further contrasts can be achieved
within the technique, by working dry-brush
effects against wet-on-wet washes.
MARRAKESH II
14 x 22” (35 x 56cm)
The beauty of this painting resides in the minimalist approach.
Set of colors is basically off white and blue, and the lost and found
edges, creates a feel of movement. The contrast creates interest.
 One of the most difficult as-
pects of painting is to express
ideas in an assured, confident
way. Brushstrokes play a key
role in that process and, more
than any other factor; they will
reflect the feelings, character
and passion of the artist. Like
handwriting, brushstrokes are
a very individual attribute. And
obviously this is true in relation
to all types of painting, not just
with watercolor.
There is no room for vague-
ness and uncertainty with
brushstrokes. Be adventurous
and aim to use your brush-
strokes with authority. Espe-
cially with watercolor, which
is such a sensitive medium,
indecision and a lack of con-
fidence will show immediate-
ly. So, aim for spontaneity and
freshness in your work: these
are the qualities that make wa-
tercolor so appealing and dis-
tinctive. Try to convey the idea,
the mood and your feelings for
the chosen subject with the in-
tegrity and economy that wa-
tercolor will allow.
I agree that adopting a bold
brushwork approach to inter-
pret mood and atmosphere is
no easy task. One of the key is-
sues in this respect is the abil-
ity to assess and mix the right
tonal values. In watercolor, the
important factors in creating
successful tones are the water/
pigment ratio and the weight of
the brushstroke on the paper.
RELAXING
14 x 22” (35 x 56cm)
It was Sunday siesta time, we have
had a nice lunch with the family
and friends, and everyone had just
gone, Ana & I were just relaxing, not
thinking about painting at all, but
when she fell asleep, I saw a good
subject, and just for a bit of fun, I
painted it.
 If you master those aspects
you will be able to paint with
fresh, intuitive and bold brush-
strokes that will convey the nec-
essary sense of light, depth and
volume.
The surface quality of a
painting, the way that the brush-
strokes are applied and create
particular effects, is another
important consideration.

TOORAK RD
MELBOURNE
30 x 22” (75 x 56cm)
This painting has a lot of contrast
in values. The fact that is “into the
light” makes the background to be
lighter and just merely a shape,
that counterparts the massive use
of red, in the car with all the dark
value and abstraction on this given
area, which seems even stronger,
only for the fact that is placed on
the foreground. So, automatically
becomes the focal point.
 For me, it is the paint qual-
ity, in conjunction with an in-
tuitive, expressive approach
that I most strive for. I believe
this is what determines a suc-
cessful painting – the inter-
action of insight with paint
quality.
Brushstrokes must be
meaningful. Through their
sense of rhythm, their texture
and the way that they express
volume and other qualities,
they tell us what the painting
is about.

THE KITCHEN II
30 x 22” (75 x 56cm)
As you will have noticed, the res-
taurant is a favorite theme of
mine. This time I have included
the waiter in a deep black suit,
in contrast to the white clothes of
the chefs, so adding more rhythm
and interest to the subject.
 Equally, every brushstroke
should have an aesthetic qual-
ity. Whether it is a long sweep-
ing stroke that covers the length
of the paper, or one of a series
of much smaller, more tex-
tural marks, every brushstroke
counts.
Rhythm adds energy, move-
ment and consequently inter-
est and impact to a painting.
Rhythm is achieved by ex-
ploiting diversity, versatility
and contrast in the use of your
brushstrokes. You could use
long strokes contrasting with
short ones, for example, or deli-
cate wet-in-wet effects together
with bold brush marks, either
applied to damp paper or a dry
surface.
Similarly, texture can be a
significant factor in helping to
convey the mood and charac-
ter of a subject. When thinking
of texture, you must take into
account the type and quality of
paper you are using.
»Forget
» details. Think big!
»Brushstrokes
» mark the
rhythm in a painting.
»Sensitive,
» expressive brush-
strokes make a difference.
»A
» good brushstroke is one
that exploits the character-
istics of the paper.
BUSY IN THE KITCHEN
22 x 30” (57 x 77cm)
I love Chinese food and also the
atmosphere that is created by the
steam and the cooking equipment.
This kitchen was very small, with
many cooks and a hectic sense of
work, which is the quality that I
wanted to capture in my paint-
ing. Incidentally, the food was
delicious!
CAFE LE DEPART
PARIS
30 x 22” (75 x 56cm)
This café is in a very popular part
of Paris, at the intersection of two
main boulevards – Boulevard St
Germain and Boulevard St Mi-
chel. My aim was to use the loose
shapes of the figures in the fore-
ground to lead the eye back to-
wards the café. I used some very
bright colors, including a rich
cadmium red on the awning and
two washes of yellow ochre on
the walls, with the second wash
toned down just a little. My in-
tention in using the two washes
was to capture something of the
character of the building and, of
course, enhance the focal point.
FRIDAY LUNCH
22 x 14” (56 x 35cm)
Another restaurant scene
and again plenty of at-
mosphere and contrasts of
light and dark, warm and
cool colors, and composi-
tional features to create
interest in the painting.
It is very important that you find the kind of
watercolor paper that suits your style of work.
Then, you can build up a knowledge of the
paper and so be able to exploit its qualities to
the greatest advantage in your paintings.
The finest watercolor paintings are those
that show skills in using a variety of brushwork
effects, both with wet-on-wet and dry brush
techniques. But whatever the type of brush-
strokes used, economy is the keyword. Rather
like playing golf, in which the winner is the
one who takes the fewest strokes, so in paint-
ing generally the most successful watercolors
are the ones in which the artist has expressed
the idea with the minimum number of brush-
strokes.

MVD
26 x 40” (67 x 101cm)
MERCADO del
PUERTO II
40 x 26” (101 x 65cm)
After spending a soli-
tary, quiet and enjoyable
morning painting, I often
take a break for lunch at
the Mercado as it is just a
short walk from my stu-
dio, and offering a varied
menu, an interesting at-
mosphere and agreeable
music; it is the perfect
place to meet my friends. I
wanted to create a paint-
ing that was typical of
Mercado del Puerto; that
would reflect its charac-
ter, atmosphere and ac-
tivity. So, I have focused
on the people, the waiter,
and the hustle and bustle.
TORTONI CAFE
SERIES IV
30 x 22” (75 x 56cm)
In this painting I worked
‘alla prima, quick and not
too many details left the
man’s white shirt quite
bright, so the focal point
would be stronger.
RUE du BACI
22 x 14” (56 x 35cm)
As here, every painting
should have a touch of in-
terest and also a touch of
excitement, I think. The
waiter is quite prominent,
with the dry-ish brush-
work around him helping
to make him stand out. In
the upper part of the paint-
ing I have used a much freer
treatment, with contrasts
of rich, dry brushwork and
wet-on-wet washes.
GREENVILLE - NEW YORK
14 x 22” (35 x 56cm)
Note the broad, cross-hatched brushstrokes in the foreground of this painting, which I
think are vital to its success and interest. Think about doing something different, add
your own artistic touch, it doesn’t matter that is not on your subject. Small details like
this are the ones that make a big difference!

Above

SCOTLAND (Sketch)
22 x 11” (56 x 28cm)
This demonstration I painted quite a few years ago, in a most beautiful place in the
highlands of Scotland. So fresh and transparent, a subdued and gentle watercolors.
TORTONI CAFE
SERIES V
22 x 14” (56 x 35cm)
This was obviously a mag-
netic subject for me! With
its various reflections, col-
ors, figures, objects and
light values it was full of
interest and potential. I
have used some white in
this painting. My advice is
don’t be afraid to use some
watercolor white, titanium
white or Chinese white if
necessary. It can be a per-
fectly valid part of a water-
color-based technique.
HARBOUR BRIDGE III
40 x 26” (101 x 67cm)
 chapter six

THE MAGIC
The creative force within us

RED FLAGS
SHANGHAI
26 x 40” (67 x 101cm)
This was a very cold day dur-
ing the last few days of winter in
Shanghai, but full of mood and
atmosphere. I used layers of sub-
tle washes combined with the
contrasting bright red flags. The
man on the right was in charge
of the pedestrian crossing!
A
S LONG as I can remember, I have felt
a compulsion to draw and paint. Simi-
larly, I have always enjoyed a fascination for
brushes, pencils, colors and other art mate-
rials. For me, painting is the great passion of
my life: the more I paint, the greater the pas-
sion. What I enjoy most of all is the magical
process of creating a painting, of expressing
and communicating an idea. And of course,
there can be magic in the finished painting
itself, in the way that it can conjure up a cer-
tain place and mood.
When I first started painting, while I loved
to explore brushstrokes, lines, colors and all
the various facets that make up a work of art,
this in itself could not answer the magnetism,
the attraction that painting held for me. What
astonished me most was how certain artists
could capture something amazing and beau-
tiful from just an ordinary subject – the sort
of mundane scene that we see every day. It
is the mark of a great artist that
they are able to respond to any
“As a rule of thumb, never
subject with such sensitivity and
go for the obvious subject.
insight as to touch the spirit of it
I prefer to succumb to the
and communicate this within the
chancy elements of life,
finished painting. It is that sort of the unpredictable and the
magic that I find so appealing and absurd, and turn them
inspirational. into a work of art. There
That magic must come from is always far more to
deep within the artist, from his or win.”
her sense of awareness, creativ-
ity and passion. The challenge,
as I have said, is to express your-
self and your feelings, while at the
same time being truthful to the
source of inspiration and your PARIS
individual style. Although knowl-
22 x 14” (56 x 35cm)
edge of the watercolor medium
I love Paris: I love its architecture,
and all the different techniques is
its sense of style, and its crêpes! This
a good thing, ultimately it is how
painting is wonderfully simple, yet at-
you exploit that knowledge that is
mospheric and evocative. It was made
important, and whether you can
with just two washes. The first wash
stretch the boundaries of tech- established an under-painting, while
nique to explore ideas in a more the second - a broad, unifying wash -
daring and unpredictable way. enhanced the variations of tone and so
This is why I have a very open created the sense of light and depth. I
approach concerning the paint- wish I could work just as simply and
ing process. effectively in all my paintings!
 For me, what counts most is
the result. As well, when choos-
ing a subject, I never worry too
much about how impressive it
looks, because ultimately it is
also my interpretation, my re-
sponse, which will play a big
part in determining the degree
of interest and success in the fi-
nal painting.

POKER SERIES
44 x 26” (112 x 67cm)
Exploring a new subject matter
is always challenging: This was
a poker tournament at the casi-
no. Very intense moments, subtle
lights, very expressive faces; there-
fore, blue was the central interest,
so, I placed it in many objects. The
rest was diffused, by broad washes
and dry brushstrokes.
 With subject matter the most
important point to remember is
to respond positively to your first
reaction, to be aware of the par-
ticular qualities that initially at-
tracted your attention. And you
must always paint with sensibility
and a consciousness of who you
are and how you feel.

“Create tension between light

hues and strong shadows.”

VENICE
14 x 22” (35 x 56cm)
I have painted Venice many times.
This canal view was painted from the
center of a bridge, which gave the sub-
ject an enhanced sense of perspective
and distance, adding to its impact. I
was inspired by the sharp contrast of
the dark boat and its reflection against
the brightly-lit water. It was a simple
and beautiful subject.
LE BONAPARTE CAFE - PARIS
30 x 22” (76 x 55cm)
Watercolor doesn’t have to be weak and washy: you can vary the paint con-
sistency to suit the subject matter and effects you want to achieve. I particu-
larly like the strength of the pigment in this painting, and also the striking
effect of light, which creates the focal point. Note how I have worked around
the main figure in the foreground with blended washes of color, so that it
does not dominate the painting.
 To quote Henri Matisse: ‘To trans-
late my emotions, my feelings and
reactions of my sensibilities into
color and design – this is something
that neither the most perfect cam-
era, even in color, nor the cinema can
do.’ His words, I think, encapsulate
everything I have been discussing
about being an artist and the magic
of painting.
Art is something that is indestruc- URBAN SERIES III
tible: it survives from generation to
26 x 40” (67 x 101cm)
generation, a creative force within
every human being.
This is a view looking down onto the
old town district of Montevideo. The
And art can take many forms – sense of distance is achieved because
descriptive, poetical, expressive, il- of the perspective and the tonal val-
lusionistic and so on. Where does ues, with much darker tones in the
it come from? Our inner being, our distance, where there is less light.
soul, or is it purely cosmic and intui- The street lights in the foreground
tive? Whatever the force that inspires add a touch of interest to this area
us to paint, there should always be an and also give a sense of scale and
element of magic! depth.
GLORIOSO
PENAROL
47 x 31” (120 x 80cm)
This painting was all
passion, because of the
subject, (the soccer fan,
celebrating our team
victory). The fireworks
were all over the place.
CHICAGO AT
NIGHT
(56 x 35cm)
Chicago is another great
city, and even better at
night. I like night scenes;
I like the strong contrasts
of light and dark. I think
what helps to make this
painting successful is how
the light filters through it,
in every element. There are
lights in the buildings and
reflections on the street, the
yellow cabs, the sidewalk,
and so on.

“DONT BE INTELLECTUAL, when you paint the worst thing you can be is to be
too smart and intelligent, be stupid, innocent, naive and if you can even funny!”
CLEANING UP
22 x 14” (56 x 35cm)
In this painting I
wanted to convey the
atmosphere of the
scene through the var-
ious contrasts of color
and tone, rather than
the objects.
TANGO SHOW
22 x 14” (56 x 35cm)
Is basically black and red,
as much of the Tango at-
mosphere.....putting a bit
of emphasis in the arm
and faces...the rest is just
a blur of colors.
BOULEVARD MONMARTRE PARIS
22 x 14” (56 x 35cm)
2009 AWS - High Winds Medal Award
FLINDERS ST STATION BY NIGHT
43 x 26” (110 x 67cm)
 HOMETOWN
MONTEVIDEO
PORT
40 x 27” (104 x 69cm)
Aerial views are always
interesting, I think. This
view, of the old port in my
hometown of Montevideo,
seen with all the cargo
ships and metal structures
set against the light of the
water, was so striking that
I just had to paint it. I used
an almost monochromat-
ic palette, with muted co-
lours but including a few
red brushstrokes where I
wanted the viewer’s eye to
rest. Using a limited col-
or palette is a good way to
simplify a busy subject yet
at the same time capture
its atmosphere.

“Painting is the amalgamation of elements that communicate an idea,

a feeling, a mood – and this has to be done with passion!”
DORREGO CAFE
43 x 26” (110 x 67cm)
Another café scene and
again plenty of atmosphere
and contrasts of light and
dark, warm and cool col-
ors, and compositional fea-
tures to create interest in the
painting. Love to paint the
reflections and the light. I
used a very diffused fore-
ground, to offset the busy
background, and so create
a stronger interest.
PARIS
30 x 22” (78 x 58cm)
I had just finished a very productive afternoon’s painting under the bridge, and was pack-
ing up, when I saw this wonderful scene, with its perfect sunset light. I took a photograph
to capture the gorgeous twilight atmosphere, and worked on the painting later.

FRIDAY MORNING
22 x 30” (57 x 77cm)
For this painting I wanted to create an impressionistic look of a busy street scene. In the
streets of every big city there are always lots of cars, people, shadows and shapes mingled
together. The aim in the painting was to somehow interconnect all the different elements
into a single unified composition.
PARIS at NIGHT
30 x 22” (76 x 56cm)
I much prefer to work with a warm color palette, and for this in-
teresting night scene, painted at the famous corner of Boulevard
St Germain and Boulevard St Michel, I kept to a limited range of
ochre’s, reds, sienna’s and ultramarine blues.
 demonstrations

I
Step-by-Step N SHARING with you how I
paint, I thought it would be
Australian Landscape helpful to show you the differ-
ent reference sources that I work
from, such as photographs, my
laptop screen, sketches and real
life. For this landscape painting
I worked from a photograph on
my laptop screen. I took the pho-
tograph while driving back from
Bathurst to Melbourne, in Aus-
tralia. It was such a hot day that I
did not want to get out of the car
to take some photographs. But
the scenery was so appealing, so I
decided to take some shots from
the car. I started shooting with my
camera – it was rather like shoot-
ing with a magnum gun!
In consequence this photo-
graph is a bit blurry, although for
me that is actually quite good. It
gives the effect of squinting your
eyes to concentrate on the main
shapes; it helps you avoid unnec-
essary little details. So here we go!
STEP 1
To set up the composition all I
needed to do was to draw a few
lines and shapes – the main shape
of the mountain, the tree on the
left, a few cows in the field, and
some tree trunks in the foreground
on the right-hand side.
STEP 2
Obviously the sky was the main
player here. The wonderful cloud
shapes were particularly interest-
ing, and also the color.

For the clouds, I used a warm wash

of mauve cobalt blue with a hint of
crimson, very light and with lots
of water. I preserved a white edge
on the clouds and against that I
added a touch of cerulean blue, but
not too strong.

While the wash was still wet I

painted the undercoat of the distant
mountain, using a grayed yellow
ochre hue. And I added a wash to
the foreground, which ultimately
will include dark shadows, with a
combination of crimson and burnt
sienna.
STEP 3
Next, for the distant mountain, I
used ultramarine blue plus a tiny
among of burnt sienna to gray
down the blue.

Then I continued painting with

horizontal brushstrokes here and
there, until I reached the trees
on the left-hand side. These were
painted with a creamy wash of
burnt sienna, ultramarine blue,
yellow ochre and a touch of aliza-
rin crimson, allowing me to work
alla prima, all in one go. I worked
on the cows with the same colors,
just adding a bit more ultrama-
rine blue.
STEP 4
I connected the shadows with the trees on the right-hand side,
leaving negative shapes for the eucalyptus trees. For texture,
I splashed on some green turquoise and yellow ochre, with a
touch of white to add body and keep the hue.
Even if it is a simple subject like this one,
have a plan, “try to have a picture in your
head, of the finished painting” it will help
you to paint with freedom!
 demonstrations

I
Step-by-Step HAVE BEEN fortunate
enough to visit Cadaques
Boats in Cadaques quite a few times. It is such a
beautiful and inspiring lit-
tle town and it is not hard to
imagine why so many artists
decided to settle there. I liked
it so much that I chose it for
the filming of my first DVD,
Inspired Watercolor.
On my last trip I sketched
quite a lot, in my small travel
pad, and I did a few demon-
strations while painting with a
group. Photographs are always
a very good form of reference,
but this time I chose to work
from my own previously paint-
ed sketch. Now you can give it
a go, and learn something very
valuable.

“I enjoyed my day out in

Cadaques, even if I hadn’t left the
comfort of my studio!”
STEP 1
When drawing in the studio it al-
lows you to work in more detail.
So here, after placing the main el-
ements – always thinking about
them as a relationship of shapes
- I decided to enhance the compo-
sition by drawing the boats, fish-
ermen and poles with a greater
degree of definition.
STEP 2
Having finished the drawing, I
covered most of the paper with a
general wash of yellow ochre, us-
ing my own brand, the big #10
mop brush, which holds a lot of
water and pigment.

While the wash was still wet, I

added a touch of cerulean in the
sky area and viridian on the fore-
ground boat.

I also added a hint of mauve to

the left-hand foreground area, to
break up the flatness of the large
expanse of yellow ochre wash.
 STEP 3
Before working on this stage I
made sure the paper was dry. For
speed, I used a hair dryer.

Then I continued, first by apply-

ing a wash of cerulean blue over
the sea area, to maximize the glow
and add depth and movement.
Also, note how I have combined
the wet-into-wet effect with some
dry brushstrokes.

Next I painted all the boats, ex-

cept the one in the immediate
foreground. I used mostly the
same hues, although in different
proportions – cobalt blue, cerule-
an and, where I needed to make
it very light, a touch of watercolor
Chinese white.

For the top edges of the boats I used cadmium red. I quickly started on the shadows, using
the same colors, but less water. For the stronger tones I used a thicker mixture of burnt si-
enna, ultramarine and a bit of cadmium red. The fishermen and the poles proved a great
way of breaking the horizontal design made by all the boats resting on the sand.
STEP 4
Now I began working on the de-
tails, using my fine rigger or nee-
dle point brush. I worked on the
poles, flag post and rope’s, and
added another darker tone inside
the foreground boat to enhance its
three-dimensional quality and
interest.

Also, you can see that I have paint-

ed an overall on the fisherman on
the right and finished the one on
the left.
A few more brushstrokes on the boats added to their This was a very simple, fresh watercolor.
rustic, weathered quality, and I also added a few birds Not many steps were needed; I just took
and my signature – as usual, in cadmium red light! advantage of what the medium offers.
 demonstrations
N
OT LONG AGO I visited Bue-
nos Aires, which is one of my
Step-by-Step favorite cities in the world. For me,
it is a painting paradise, as it has so
Circulo Militar, Buenos Aires many subjects that truly impress
and inspire me. I love to paint in
Buenos Aires. It is a must-visit city
when Ana Maria and I plan our
South American workshops.
This particular subject was a
view that we had from our meet-
ing point after lunch. The Plaza San
Martin is a beautiful square right
in the center of the city. It is full
of flowers, big trees and benches
where you can sit and soak up the
sun. From here we had a great view
across to the Circulo Militar, a gor-
geous building in the French style.
The atmosphere was relaxed, but
still with a nice buzz. It was very
sunny, which created some beau-
tiful shadows – I just had to paint
it!
I set up my easel under a large
tree and began to try out some lines
and colours. Here is how I devel-
oped the painting.
STEP 1
I always start with a drawing, for
which I normally use a 4B graph-
ite pencil.

With a street scene such as this I

first of all consider the street level.
It is usually in the lower third of
the paper.

After that I concentrate on the

main shapes of the buildings and
finally I add the cars and figures.
STEP 2
Next, I add the first color washes.
For this painting I began with ce-
rulean blue, for the sky area.

As the wash continued down-

wards I worked with yellow ochre,
towards the pedestrian crossing,
which I left as a series of negative
shapes.

I added ultramarine blue and aliz-

arin crimson to complete the wash
on the left, and used some cobalt
blue on the right.
STEP 3
Once these initial washes had
completely dried I started on the
rooftop, in the upper- left area of
the painting.

I used cobalt blue and burnt sien-

na for this, adding the tree with
the same colors plus yellow ochre –
but with less water than before, so
that I could make stronger darks.

I continued with a weaker wash

for the buildings, finishing off
with lots of juicy washes of cobalt
blue, burnt sienna and a hint of
cadmium red.
STEP 4
I continued with the washes on
the right-hand side of the build-
ing, using the same hues but mak-
ing them slightly lighter than the
central part of the painting.

All the time I made sure that the

painting kept its overall feeling of
unity.
Note that all the figures are at
eye level, to enhance the sense of
perspective, and that I have left
the figures as ‘negative’ shapes to
maximize the sense of light.
STEP 5
For the final details, such as the
backs of the taxis on the left-hand
side and the figures walking
across the pedestrian crossing, I
kept to the same color palette but
with different variations in the
color mixes.

In watercolor painting it is not

only important to use a harmoni-
ous set of colors, but also to aim for
interesting and appealing brush-
strokes that interconnect areas of
the painting.

For the fine lines and architec-

tural features of the buildings, I
used my ‘needle’ brush, which is
like a rigger.
 demonstrations
Step-by-Step

Still life - Studio M

Y STUDIOS HAVE al-
ways been a good source
of subject for an interior paint-
ing.
I don’t know if it is the “mess
I always make sure I keep in
order”, the love of art materi-
als, or the ambiance, in which
of course I feel very much at
ease as I paint here often. I
surround myself with objects,
books, photos, paintings, cata-
logues, etc., that have value to
me, and I collect from every-
where in the world.
So, in this case, I decided to
paint a small corner of my old
carpenter’s bench, with all the
elements and nostalgia.

“Composition should reflect

the essence of the subject.”
 STEP 1
So, in the first step, I moved some
of the elements a bit closer, and
placed the trumpet guy John, a bit
higher, so my composition would
flow better.

I concentrated in drawing the

main figurines, which had to be
drawn with certain degree of de-
tails, as they are ‘human’ shape,
and so, needed to be proportional
and at the right scale.

The rest of the elements are just

depicted by lines, except for the
flat brush, which for its location
in the foreground, had to have a
good definition.

For the background, I drew a ‘frame’ around the main characters, thinking
ahead about the light source, making sure I leave that section without paint,
so to enhance the guys, which of course are going to be the focal point. As for
the rest of the background, I just drew some general lines as limits.
 STEP 2
I the paper was stretched, by us-
ing masking to the board, creating
a 3 cm/1inch boarder all around,
which is going to be quite a nice
“frame’ for the painting, once fin-
ished, you will see!

There was no need to wet the pa-

per, as the size (56x35cm) and
being stretched, was enough to
work straight on, placing the first
washes.

I chose a gorgeous yellow, (I call

it, “Amarillo Glorioso”, like the
stripes of my dear soccer team,
“Penarol”) which is the color on
my studio walls.

So I worked with yellow ochre, all around the “frame” I pre-determine to

leave it white of the paper, I went quite strong, “to set the pace” I used a bit of
burnt sienna and a hint of crimson down the bottom, and the same mixture,
but added quite a bit of ultramarine blue around the Trumped guy.
STEP 3
I started to “dress” the main
figurines, with loose washes,
but setting up a definite hue;
viridian green on john, burnt
sienna and cadmium red on
Peter, but still a light value.

I worked with quite a degree

of freedom and abstraction, on
the set of brushes on the right
hand side; I worked alla prima,
with the right value at once.
I worked on the skin tones a
bit of crimson & hint of yellow
ochre.

I splashed quite a bit of wa-

ter, just the dirty one from my
bucket, to produce a natural
dripping effect, so intrinsic
and beautiful, of the watercol-
or medium.
 STEP 4
Here I started going up in value
on the left hand side, so to maxi-
mize the impact by working with
contrast.

Placed a few more brushstrokes on

the back wall, depicting some of
the paintings I got hanged on the
walls, and added a few dry brush-
strokes with a mixture of ultrama-
rine blue, mauve, crimson and si-
enna to give more prominence to
the white area, and start increas-
ing the contrast; this way, I am
“building up” my middle tones.

And some darker darks on the very

front foreground, brushes and
my bodyguard figurine, always
thinking of the “yin and yang”,
as making this side darker, will
enhance the opposite side being
lighter.

Here I worked with different mixtures of ultramarine blue, burnt

sienna, and alizarin crimson. Using the same colors, with different
proportions, it gives unity, but chromatic difference.
 STEP 5
Here I started concentrating on
“dressing” John & Peter, darken-
ing their skin tone, using pure
cadmium red for his T-shirt, and
burnt sienna and ultramarine for
his vest.

I also placed quite a few loose

strokes around him, this way, en-
hancing and bringing the focal
point forward.
I darken up the green jacket, by
placing a blue violet (ultramarine
& crimson)

Here again I worked on their

skin tones, now, placing shadows
and reflections on their noses and
heads.

John used to hold a guitar, but got lost during the last studio move, so, he is now
doing his famous gigs with one of my best sellers, the “needle point red brush”.
STEP 6
Worked on touches to pull the
painting together; darkening
some sections, and adding details.

Worked with a fine synthetic

brush, as they are not as soft as
the natural hair one, and so, the
spring is less flexible, with a very
defined point, that allows you to
place dots and very fine lines.
So, there is John, dreaming to be playing like an idol guitar- Now you know who are my companions
ist, the bodyguard, watching from close behind, and Peter, while I paint every time in my studio!
blowing his own trumped! Can you see and feel the ‘story”?
The message that I would like to transmit with
this book encapsulates my own experience on
the art of painting watercolors, as well as, my
own vision, point of view, and my thoughts
about this beloved and elusive medium. I ex-
press them in general, not absolute terms. I
strongly believe you learn from your own work.
Art instructors can teach you technique, but
they will not teach you to be an “artist”; be-
cause your artistic vision should emanate from
within you!
So, my advice to you would be to work hard,
practice a lot, analyze, reflect - and learn from
it. Ask yourself what is wrong? How can I make
it better? Aim High! And above all, paint with
a smile on your face and for the sake of it! For
total self-indulgence and fear free!
We should all work hard to put watercolors in
a place to be recognized properly. It is a beau-
tiful, permanent, and hard to accomplish me-
dium. Please join this Crusade and expose as
many people as you know to watercolors....I
think after they discover it, they will only love
it, and thank you for it!
And please don’t forget to let me know what
you think of this book! I am waiting to hear
from you at alvaro@alvarocastagnet.net or
alvarocastagnet.net and on Instagram.
 4 s tep b y s tep
demonstration s

Chapter Titles:

PHILOSOPHY
CAPTURE THE ESSENCE OF THE SUBJECT AS YOU GO IDEAS

BEYOND TECHNIQUE
TECHNIQUE
COLOR
Express work that is evocative and shows passion and feeling. BRUSHSTROKES
Author and artist Alvaro Castagnet emphasizes the importance of – philosophy, ideas, THE MAGIC
technique, color, brushstrokes and magic – encouraging you to observe and evaluate
your own paintings, and build on your discoveries.

in s i d e thi s b oo k
STUNNING WATERCOLOR PAINTINGS
With detailed, informative captions, to inspire and build confidence as you apply the
techniques explained.
FOUR STEP-BY-STEP DEMONSTRATIONS
Including countless explanations to show you how to convey the key concepts of water-
color into a powerful work of art.
ELUSIVE SIDE OF PAINTING ILLUSTRATED
To help you go “beyond technique” in your own work. With every subject, expressing its
essence, its particular sense of place, mood and atmosphere, as your main motive.
PASSION, QUALITY AND INTEGRITY
These are the key aspects to focus on to develop your own, distinctive style of painting
great watercolors!