36 Best Watermedia

Paintings of the Year

Unexpected
Tricks for Texture

6 Steps to More
Vibrant Landscapes

Winslow Homer
In the Wild

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creativity

workshop

by carol z. brody

Mix and Match

Bring the textures and patterns that enliven acrylic paintings
and collages to your work in transparent watercolor.

Shifting Gears Some of the textures in

Party Papers and Red Circles (watercolor
on paper, 22x30) were achieved with white
gouache, which I sprayed through various
screens and doilies to brighten a painting
that had become too dark. It was a
departure from my usual way of working.

12

s artists, many of us experiment in various mediums until

we find the one that finally captures

Today, watercolor is my
passion. I love the way it handles,
whether Im painting on wet or dry

our hearts and minds for good. Once

paper, and I love its transparency

that happens, we dont forget every-

and quirkiness. But my previous

thing weve learned along the way;

work in acrylics taught me to

instead, we take our hard-earned

appreciate the rich, textured

lessons and adapt them so that they

surfaces possible in that medium.

apply to the medium we love best.

Likewise, my collage work taught

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A Festive Mood An analogous color scheme

unies paintings such as Party Papers, Ribbons
and Confetti III (watercolor on paper, 22x30);
the patterns and looping ribbons create a joyous,
party-like mood.

with a hairdryer, thereafter making

sure to work on bone-dry paper for
my glazing and texturing. I now
fi nd the areas that are to become
my shapes, and I define them one
by one as I go along, by negatively
glazing around each. Sometimes
me the joy of juxtaposing various

the surface where colors will appear

I use my hands to indicate where I

shapes, textures and patterns in an

in my Party Papers paintings.

think the next shape should be, and

abstract piece.
I wondered, is it possible to

Step Three: I dont paint literally,

so when Im about to bring paint

I work slowly until Im satisfied with

the composition of the painting.

translate textures and patterns

to paper, I look at my palette to

found most often in acrylic and

see which colors call to me at that

through the process, I begin adding

Step Five: About halfway

collage paintings to work in trans-

moment and then I jump right in,

some painted patterns and sprayed

parent watercolor? I set out recently

floating in colors, allowing them

or lifted textures. I work with

to fi nd the answer and the result

to blend and bleed into one another.

doilies and screens to achieve this,

was my Party Paper series of

I feel that colors are most interest-

applying them in areas that need a

paintings. Follow along as I share

ing when you let them mix on the

my simple process and the secret to

wet surface of the paper, produc-

adding painted patterns or sprayed

ing imperfect mixtures, but very

textures to watercolor paintings;

exciting results.

youll love the results youll get by

mixing and matching techniques.

I also want each painting to have

a rhythm of its own, which I try
to establish in the underpainting.

Finding Shapes

Color sets the tone for everything

Step One: I paint intuitively and

else that follows and is a personal

prefer not to draw ahead of time or

expression, unique to each artist,

make a value study. I begin simply

but I generally use analogous colors

with a notion of what I want to

because they convey a mood, and

paint, where the center of interest

they work well together; I always

will be and the general sweep and

have color transitions in my work.

direction of the strokes. Sometimes

I even move my hands over the

Step Four: After I lay in my initial

wash, I dry the painting thoroughly

watercolor paper as if to visualize

the painting.
Step Two: Once Im ready to
begin, I wet the entire surface several times or wet only the portions of

Colorful Confetti In Party Papers, Ribbons

and Confetti II (watercolor on paper, 30x22),
the gestural sweep of the papers is enhanced
by the ribbons and confetti.

Watercolor Artist

12_WCA0212_Creativity.indd 13

February 2012

13

11/17/11 4:02:17 PM

Powerful
Patterns Shapes
and patterns are
strategically placed
to move the viewers
eye around Party
Papers and Ribbons
IV (watercolor on
paper, 22x30).

t this
try
at home
Mix and match different techniques in your watercolor
paintings. Try using screens
or fabric to introduce patterns
and textures to your work.
Send a JPEG (with a resolution
of 72 dpi) of your painting to us
at wcamag@fwmedia.com with
Creativity Workshop in the
subject line and tell us about
your process. The editors
choice will receive Land, Sea
& Sky, a collection of 40 articles from world-class artists
in searchable CD format. The
deadline for entry is February
12, 2012. Happy painting!

little something. I always repeat the

paper towels so that the spatter

textures or patterns in a painting

doesnt fall there. Use a wet tooth-

because this gives unity to the work,

brush to pick up some color from

but I try to do it in a slightly differ-

your palette and spatter it first on

ent way each time, in order to add

your palette to test its strength and

variety, as well.

the size and wetness of the drops.

When youre satisfied, spatter

Tips for Texture & Pattern

through the screen, imparting its

To add texture and zest to your

design on the paper below. Lift up

watercolors, consider painting

only one section of the screen to

through bits of doilies or small

check the color before lifting it off

screens; youll get the texture you

completely.

love in your acrylic paintings, along

Alternately, if you have an area

with the shapes and patterns you

that has become too dark or muddy,

enjoy in your collages.

you can enliven it by lifting through

First, fi nd a place that needs

a screen. Be sure the screen you

texturegenerally one where you

use is firm enough to hold its shape

want to create interest. If the area

when you rub against it and place it

is a light value, you can deepen its

over the dark area on your painting.

color by spattering through a doily

Wet and wring out a small natural

or screen. (I cut up small pieces of

sponge, and use it to wash out the

both so that I can lay them on small

pattern of the screen through its

spaces.) Position your screen where

holes. Go lightly at first, so you dont

you want the texture, being sure

lift off too much paint.

to cover adjacent areas with clean

These are just a few of the ways

in which you can be creative and
have fun, while adding interest to

View selections from former Creativity Workshop

activities at www.artistsnetwork.com/
articles/inspiration-creativity/creativity-workshop.

your paintings. Your viewers will

enjoy discovering how your textures and patterns were done and
will hunt for them in your works.

14

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4TH ANN UAL

watermedia

showcase

Showcase your talent

by entering this exciting
competition, brought to you by
Watercolor Artist magazine.

DEADLINE:
JULY 16, 2012
Award Winners will
be published and
Honorable Mentions
names will be listed in
the February 2013 issue
of Watercolor Artist.

Over and Out

by Anne McCartney

Best of Show:
$10 0 0
2nd Place:
$50 0
3rd Place:
$250
4th Place:
$10 0

Barbarians at the Gate

by Will Bullas
My Brothers Keeper
by Laurie Goldstein-Warren

Send in your best work for a chance to get published and win great prizes!
The competition is open to artists anywhere in the world. All works must be original.
Mixed-media entries are accepted, but the primary medium must be watermedia.
There is no limit to the number of images you may submit. For additional guidelines
and to enter online, visit www.artistsnetwork.com/watermediashowcase

Questions? Just send us an email at watermediashowcase@fwmedia.com

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3/12/12 11:11:02 AM

3RD ANNUAL

watermedia

showcase

st

This years prizewinning paintings embody all

thats unique and wondrous about watermedia.
With stories as diverse as their paintings, the
artists whose work we celebrate here remind
us of the powers of commitment, compassion,
curiosityand a sense of humor.
By Kelly Kane

70

Anne McCartney
Edmonton, Alberta
www.mccartneyartworks.com
INSPIRATION: After a long hike up to the
amusement park on Tibidabo, a mountain
overlooking Barcelona, we stood looking down
over the city. The view was breathtaking, but
what made it surreal for me was this brightly
colored Ferris wheel in the foreground. I knew
it was a painting as soon as I saw it.
TYPICAL WORKING METHOD: When I paint
in the studio, I spend a lot of time planning.
After Ive fi nished a number of value studies
and determined the composition and color
palette for a piece, I begin the process of
applying paint and masking. Patience is
crucial as I apply a wash, wait, wait some

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more, then apply a layer of masking, wait,

wait some more, then apply a wash and so
on. I like to work en plein air as well. When
working this way, my results are much looser,
the colors less bold.

GREATEST CHALLENGE: Seeing whats

important and making sure that I bring that
out in the painting is the hardestand most
vitalthing. I also have to be sure the values
are accurate with just one wash. Because
of the way I work, there arent opportunities
to do it over.

FAVORITE PART OF THE ARTISTIC PROCESS:

I love watching the interplay of paint after the
first large wash; Im always awed by the way
the colors blend to produce sometimes unexpected mixtures. And then, once the painting
is complete, I love when I can remove all the
masking, holding my breath in hopes that
I got it right.

ARTISTS YOU MOST ADMIRE: Ive always

loved Jan Vermeer (Dutch, 1632-1675). I can
remember standing in front of a Vermeer
painting as a teenager and being awed by
it. That feeling of how did he do that?! is
still there.

GREATEST ASSET AS AN ARTIST: I enjoy

experimenting and trying new approaches to
the way I paint. I think this helps me to grow
as an artist and keeps me from becoming too
sedentary or predictable.

PREVIOUS COMPETITION EXPERIENCE: Ive

entered quite a few competitions, always with
my fi ngers crossed and my hopes high. My
paintings dont always fare well, but it never
stops me from trying again.

Watercolor Artist

70_WCA0212_Showcase.indd 71

Over and Out

(watercolor on paper,
19x28)

February 2012

71

11/14/11 11:07:51 AM

nd

Will Bullas
San Francisco,
California
http://willbullas.com
Barbarians at the Gate
(watercolor on illustration
board, 171/2 x18)

INSPIRATION: The hat. I bought it about 20

years ago and it has made the rounds at
countless cocktail and dinner parties. Many
people have tried it on and made bold or silly
statements. I decided it was time to do a series
of paintings around a central character who
wears the hat and poses around the world,
thus my Travelers Chronicles series.
MOST INTERESTING THING ABOUT THE WAY
YOU WORK: I balance my painting career by
doing both serious and humorous work; its
the only way for me to stay sane. In general,
I love mystery and pathos in a work of art.
Allegory works for me.
BIGGEST SURPRISES WITH THIS PAINTING:
There are always little surprises that occur
during the painting process. Maybe a color
doesnt work next to another, so one has to
be shifted in value or tone. Its all part of the
on-the-job training.

72

GREATEST ASSET AS AN ARTIST: My love of

painting makes me a very prolific painter, and
the more I paint, the more I learn.
FAVORITE PART OF THE ARTISTIC PROCESS:
My favorite part of the process is the actual
act of pushing the paint around; its like
herding pigment, getting it into the right place
and making it work as part of the whole.
GREATEST CHALLENGE: I want to make sure
I get my point across, whether its a play on
words (as in most of my humorous wildlife
paintings) or a provocative mood and hint of
story for serious paintings, such as this one. I
believe if you cant convince the viewer of your
point, then the painting has lost its purpose.
PREVIOUS COMPETITION EXPERIENCE: Ive
entered competitionsboth major and lesser
onesthroughout my career. It gives me the
opportunity to run with the big dogs.

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3rd
Laurie
Goldstein-Warren
Buckhannon, West Virginia
www.warrenwatercolors.com
My Brothers Keeper
(watercolor on paper, 30x22)

INSPIRATION: On a recent trip to Memphis,

I was out one morning exploring the city and
taking photographs when I spotted this man
walking through the park. I didnt realize
he was homeless until he stopped in the
sunlight to get some food out of a city trash
can. The contrast between the beautiful
sun-fi lled morning and his expressive face
captivated me. I knew I had to tell his story.
TYPICAL WORKING METHOD: My process
starts with my camera, capturing moments
in the images I take. After a photo-taking
trip, I spend several hours in my studio going
through the photos, looking for subjects that
inspire me in some way. I draw the subject
on sketch paper, transfer it to my watercolor
paper and then paint with a limited palette
no more than five colors.
To begin, I make an underpainting using
cobalt blue, quinacridone rose and quinacridone
gold, wet-into-wet. Once thats dry, I work on

the large shapes using the same three colors.

Near the end of the process, I add Antwerp blue
and lamp black for my darkest values.
GREATEST ASSET AS AN ARTIST: Being selfemployed and working from home gives me
flexibility. Its this blessing that allows me to
paint every day.
FAVORITE PART OF THE ARTISTIC PROCESS:
In the past few years, Ive had the opportunity to meet and photograph many people
for my portraits and cityscapes. I love to
discover individuals unique qualities as well
as explore the commonalities we all share as
human beings.
GREATEST CHALLENGE: I frequently alternate
between portraits and other subjects, including cityscapes, still life and abstracts, which
can be a challenge, but it also makes each day
in the studio feel new and exciting.

Watercolor Artist

70_WCA0212_Showcase.indd 73

February 2012

73

11/14/11 11:08:05 AM

4th

Rance Jones
Richardson, Texas
rancejonesart.com
Ridicolo (watercolor on paper, 14x18)

INSPIRATION: Venice is known, of course, for

its remarkable architecture and scenery, but
I wanted to explore how Venetians express
themselves and their ties to such a captivating environment. Are the people as colorful
and interesting as their surroundings?
TYPICAL WORKING METHOD: I love to explore
interesting places and absorb the scenery.
I photograph as I go and use the camera to
collect as much information as I can, so that
when Im back in the studio I can develop a
composition and narrative that inspire a great
painting. From there I rely on a combination
of traditional and non-traditional watercolor
methods. I enjoy the process of painting but,
for me, the end result is the driving force.
GREATEST ASSET AS AN ARTIST: My aim is
to tell a story visually. I never try to make a

74

statement as an artist; instead, I try to capture

a moment that offers the viewer something
interesting about the people or place in the
painting. In particular, Im always pleased if
the figures expressions are lifelike and natural. Ive been an illustrator for about 15 years,
and the expressions on peoples faces are my
bread and butter.
GREATEST CHALLENGE: I still struggle to
believe in my value as a fi ne artist. In illustration, the standards are clearly defi ned as
to what constitutes excellent work, but not
so in the fi ne art arena. Subjectivity is the
standard, and you cant nail it down or chase
after ityou just have to do what you do as
an artist and hope an audience emerges.
PREVIOUS COMPETITION EXPERIENCE:
Recently, I was accepted into a major national
art exhibition, given signatory membership
and a top cash award. The next day I was
disqualified because the painting had been
exhibited in a national show the month before.
It was a hard lesson, but it taught me to study
the rules.

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honorable mentions

THOMAS W. SCHALLER
Venice, California
Ponte FabriciusRome (at left;
watercolor on paper, 17x23)

ANNE HIGHTOWER-PATTERSON
Leesville, South Carolina
Gray Morning (below, right; watercolor
and casein on paper, 28x20)

AMY DEAN
Billings, Montana
Buttery Girl, Korea 1953 (below, left;
watercolor on paper, 24x16)

Watercolor Artist

70_WCA0212_Showcase.indd 75

February 2012

75

11/14/11 11:08:20 AM

MIKE BARR | Elizabeth East, South Australia

Yachts in a Storm (top left; acrylic on linen, 35 12 x4714 )

SOON Y. WARREN | Fort Worth, Texas

Koi Pond (top, center; watercolor on paper, 22x30)

CAROLINE SIMMEN DOMENIG | Kernersville, North Carolina

My Old Schwinn (bottom, right; watercolor on paper, 30x22)

FEALING LIN | San Marino, California

Lobster Fisherman (bottom, left; watercolor on paper, 12x16)

76

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JOYCE HICKS | Lantana, Texas

Pennsylvania Idyll (top, right; watercolor on paper, 18x24)

EUGEN CHISNICEAN | Soldanesti City, Moldova

Wet Day, Chisinau (bottom, right; watercolor on paper, 16 13 x2114 )

LARRY SEYMOUR | Piedmont, South Carolina

Maasai Princess (bottom, left; gouache on illustration board, 25 1/2 x13)

Revisit past Watermedia Showcase winners at

www.artistsnetwork.com/medium/watercolor/
watermedia-showcase-winners-gallery.

Watercolor Artist

70_WCA0212_Showcase.indd 77

February 2012

77

11/17/11 4:40:37 PM

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