Water Col Art 0818

THE WORLD IS YOUR STUDIO (BRING A SKETCHBOOK!
ARTISTSNETWORK.COM
on the
The Best Tips

for Making Art
Wherever
Easy
+
Solutions for
9 Pesky Painting
You Wander Problems
A PAINTING PLAYDATE 25th

Anniversary
Get Inspired 1993-2018
at a Weekend AUGUST 2018
Art Retreat
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TONED BLUE
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AUGUST 2018
25 th
Anniversary
1993-2018
Features
26
THE WORLD IS
YOUR STUDIO
Meet three artists—Suhita
Shirodkar, Stephen Harby and
Hazel Soan—who enhance their
love of travel by always having
paint and brush at the ready.
BY ANNE HEVENER
34
ZEN OF TRAVELING
WITH ART SUPPLIES
This strategy will simplify your
next plein air painting trip.
THOMAS W SCHALLER
38
THE POWER OF
SUGGESTION
Steve Griggs’ evocative
landscapes allow viewers to
forge a personal connection. 56
BY JOHN A. PARKS
46
BRIGHT IDEAS
48
TAKING ON THE CITY
56
USE YOUR WORDS
A trio of art-loving friends For artist Ingrid E. Albrecht, Record your travel adventures
gets lasting inspiration a distinctive perspective in words and pictures, using
from a weekend art retreat. is key to painting expressive practical tips for keeping an
BY MARY ANN MOSS cityscapes. illustrated art journal.
BY MARIA SEDA-REEDER BY BRENDA SWENSON
ArtistsNetwork.com 1
AUGUST 2018
Columns
4 EDITOR’S NOTE
There’s power in travel,
and it can impact your art.
6 HAPPENINGS
Gouache miniatures take
flight, plus other surprises.
BY MCKENZIE GRAHAM
10 CREATIVITY
WORKSHOP
To create eye-catching
interest, establish an area of
dominance in your painting.
BY ERIC WIEGARDT
16 ANATOMY OF
A PAINTING
Revel in the beauty of the
Italian countryside in this
George Inness watercolor.
BY JERRY N. WEISS
20 WATERCOLOR
ESSENTIALS
Rescue your watercolors
with these quick-and-easy
solutions to nine common
painting aggravations.
BY BIRGIT O'CONNOR
20 10
64 BURNING QUESTION
Is your must-paint-there
spot a dream location? Or a
familiar place that still calls? ON THE COVER
COMPILED BY ANNE HEVENER The World Is Your Studio
72 OPEN BOOK (Bring a Sketchbook!) 26
Inspire your next sketching Art on the Road 34, 56
session by revisiting some Get Inspired at a Weekend
favorite “old friends” from
Art Retreat 46
your art toolkit.
BY CATHY JOHNSON Easy Solutions to 9 Pesky
Painting Problems 20
Get Social Fairmont Road, Ohio (watercolor on

paper, 24x18) by Thomas W Schaller
@ARTISTSNETWORK
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2 Watercolor artist | AUGUST 2018

Editor’s Note Watercolor
ARTISTSNETWORK.COM
t he power of travel has been

extolled throughout the ages.
And the connection between
travel and art is also age-old. Even at
a time when long-distance travel was
EDITOR-IN-CHIEF Anne Hevener
ART DIRECTOR Amy Petriello
SENIOR DESIGNER Brian Roeth
SENIOR EDITOR Beth Williams
ASSOCIATE EDITOR McKenzie Graham
CONTENT STRATEGIST, FINE ART GROUP Courtney Jordan

left primarily to the world’s high sea
adventurers, there were artists on ADVERTISING
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this passion. On page 26, you’ll meet three artists whose DIRECTOR OF ADVERTISING SALES—FINE ART, WRITING + DESIGN
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Each of these artists talks about his or her favorite tools
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M U S E U M A Q U A R E L L E
Caran d’Ache introduces MUSEUM AQUARELLE, an innovative approach to the art of watercolour
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Happenings
/ MAKING A SPLASH /
Dina Brodsky
A hit on Instagram, one might say that Brodsky’s fascination with birds has
Dina Brodsky’s series of gouache min- come primarily from personal experi-
iatures proiling birds around the world ence, watching an elderly woman feed
has taken light. “Many years ago,” she pigeons every morning over a bridge
says, “I fell in love with Islamic minia- and the frequent occurrence of birds in
tures, as well as medieval manuscript her favorite poems. “Birds have been
illumination, and tried to experiment appearing in my paintings and sketch-
with some of the techniques those art- books ever since I started painting,”
ists used.” Brodsky tried egg tempera the artist says. “I’ve included them in
and gold leaf before settling on my paintings as stand-ins for people.”
CLOCKWISE
gouache for its less inicky application. Her miniatures project is inspired by a Green Bird (gouache on paper,
Pablo Neruda quote that says, “Bird by 6½x4¼)
bird, I’ve come to know the earth.”
Birds have been
“
appearing in my
paintings and
Brodsky says, “It’s a way of discovering
the world through a single window.”
he artist isn’t the only one bene-
iting from her research. “I have a
Beacon Down (gouache on
paper, 9¼x7)
Hummingbird (gouache on
paper, 4¾x4½)
toddler, so this is a chance to do some-
sketchbooks ever thing that’s interesting to both of us,”
since I started she says. “I tend not to think further
ahead than my current series, but I do
painting.
6
”
Watercolor artist | AUGUST 2018
know that I’ll always be painting.”
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Painting Without A Net
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Gift Wrap [$12]
Summer is notoriously full of birthdays, HULFZLHJDUGWFRP
and what better way to celebrate a
fellow watercolorist than to bundle a gift
in art. Rachel Nieman uses watercolor
to create her sweet gift wrap designs.
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/ ON THE SHELVES /
Sketches and Sundries [$35]
Read about author and artist
Abigail Halpin’s inspiration and
ideas alongside the sketches,
doodles and illustrations that
result. Halpin’s colorful, nature-
inspired style pops off every page.
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Because we can spend

Vibrant Watercolours [$25]
Make your home studio a creative
hours falling in love
haven with this colorful book by with beautiful art
Hazel Lale, and go beyond the
basics of watercolor. Learn how to
amp up the drama and create art #everywatercolor
with impact.
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Happenings
/ JULY 1-31 /
WORLD WATERCOLOR MONTH
Started by Charlie
O’Shields, creator of the
popular blog,
Doodlewash, World
Watercolor Month is a
worldwide charitable
event with a portion of
proceeds going toward the Dreaming
Zebra Foundation. Join in the fun on
social media and share your work,
goals or musings using the
hashtag #WorldWatercolorMonth
or #MyArtistsNetwork_WCMonth.
The Dreaming
“
Zebra Foundation
helps underprivileged kids—
our future artists—get the supplies
they need.
— CHARLIE O’SHIELDS ”
Water Media en Plein Air
with Stephen Quiller
SE
T
8 Chapters of Finished Paintings • Different Subjects & Atmospheric

Conditions • Materials and Setup Chapter • Plus Bonus Material $99.50
www.quillergallery.com 719.658.2741

/ JUST FOR FUN /
The Art of Entertainment

TRY THIS NEW GAME IN PLACE OF TRIVIA
TO TEST YOUR SKILLS IN ART HISTORY.
We’ve got game night covered with this new card

game focused on art movements throughout
history created by Federico Florian and artist
Lauren Tamaki. Published by Laurence King
Publishing, “Manifesto: he Art Movements Game,”
is a modern take on the classic favorite, “Go Fish,” and
contains 52 illustrated cards of iconic artists. Group
them into the artists’ respective art movements to win.
For those who may need some brushing up on their
art history, the game comes with a pamphlet depicting
each artist properly placed in his or her category. Pablo Picasso sits
under “Cubism,” and Andy Warhol under “Pop Art,” for example. If
your game night wants for beverage accompaniment, stick with the
art theme and pick Picasso’s favorite, Absynthe; Warhol’s favorite,
Jack Daniels; or take a cue from health-guru-ahead-of-her-time,
Georgia O’Keefe, and drink fresh-pressed vegetable juice. WA
.
Creativity Workshop
Back Off
Want to attract the viewer’s attention? Learn the push and pull for establishing
an eye-catching area of dominance. By Eric Wiegardt
t here are three elements I look for

in a strong composition. First,
the painting needs to catch the
eye at a distance with a good value
and shape construction. Second, the
element—the area of dominance—
but approach it from a diferent angle.
But, irst, an observation and an
analogy. It seems that many artists
sufer from a case of “Wow! his looks
In Study of Ilwaco
(watercolor on paper,
11x15), I used the hardest
edges and the most
intense blue for the boat
in the foreground. I’ve left
eye needs to be “carried” throughout so good that more has got to be the other boats on the
the picture plane. And, third, the eye better. his strong value contrast periphery very soft-edged.
The viewer will know that
needs to arrive at an area of domi- gives my painting so much snap, and they’re boats by their
nance and be held there as long as the intense colors have so much piz- association with the
possible. I’d like to address the third zazz, and oh, the detail—let’s have dominant one.

more!” his approach inevitably TWO SECRETS Toward the end of the painting
results in too many similar elements TO SUCCESS session, I ensure a tight, hard edge,
competing for attention, which results here are two characteristics speciic or possibly several, in the area of
in an insuicient area of dominance. to watercolor to keep in mind when dominance. But, I’ll progressively
Elements of design—space, line, constructing the area of dominance. construct fewer and fewer hard
shape, value, texture and color— 1) Soft edges are much easier edges as I move to the outside of
that have a uniformity in strength to work with than hard edges. the picture plane, where there’s
tend to cancel one another out. A soft edge can be tightened up easily usually little change from the
It’s akin to a ballet performance into a harder one by overlapping a initial soft-edge washes.
featuring lots of ballerinas, but no crisp stroke over the underlying soft 2) Intense colors are easy to
prima ballerina. here’s a lot of edge. his can create a beautiful, neutralize with successively gray
spectacular movement occurring, loose, painterly stroke. It’s much more washes, whereas gray washes that
but there’s no center of focus. diicult to make a hard edge softer. have dried are diicult, if not
he area of dominance is just Usually, we have to resort to scrub- impossible, to intensify.
that—an area—and not necessarily bing with a stif brush to soften the With this in mind, I start each of my
an object. To create the area of domi- edge, which often results in a tired, paintings with a lot of intense color—
nance, we need to construct sharper overmixed passage of muddy color. more than I’ll need—in anticipation
value contrasts, more intense color, Because of this, I’ll frequently of graying areas apart from the area
warmer colors, harder edges and begin a painting on damp paper, of dominance later.
more detail. which encourages soft edges through- It’s important to incorporate grayer
Backing of on the rest of the paint- out. his allows for lexibility in the colors, fewer details and value con-
ing gives the area of dominance the process, too, as I’m not caught in a trasts—as well as the necessary, but
opportunity to make a more powerful corner with too many hard edges that often overlooked, softer edges—out-
impact. But how do you accomplish need softening. I’m also careful to side the area of dominance to create
that? As the picture plane moves away stay away from portions of the area an efective painting. hey’re all key
from the area of dominance, it’s all of dominance that will need a razor- to driving attention to the area
about using softer value contrasts, sharp edge. I know I can adjust, of dominance.
grayer colors, cooler colors, softer making the softer areas harder as
edges and fewer details. the painting progresses.
Turn page for demo
Compare the edge quality
of the left side against
the right side in Indian
Tobacco (watercolor on
paper, 19x25). The harder
edges are reserved for
the foliage and flowers
on the right, which is where
I ultimately want the
viewer’s eye to land.
I also grayed some of the
colors on the left to give
the right side more power
and focus.
Creativity Workshop
r iega
g dtt e wie i ad c
has n awarded h t
ho orr n w e c lorr p ing:
g: he
M a a D l in n elllow
w
romm th A Wat collo
ci Ass a he a ts ,
he s b t k n f r hi s , oose
se
ntinn s yl . He an w
n, e n a a h.
h,
eree h y o gga dtt S
r wh ch is l c t Er s
g eat an n s home.
Try this at home

USE THESE TIPS TO
CREATE A PAINTING
ABOVE WITH AN AREA
The trio of boats in OF DOMINANCE.
Ilwaco Rest
(watercolor on Send a JPEG (with a resolution
paper, 19x25) is the of 72 dpi) of your finished painting
area of dominance to wcamag@fwmedia.com with
in this painting, “Creativity Workshop” in the subject
thanks to strong line—or follow @artistsnetwork
value contrasts, on Instagram and share your
warm colors and painting there: #everywatercolor.
edge details that I The “editor’s choice” will receive a
added when the copy of Wiegardt’s book, Painting
paper was damp. Without a Net. The entry deadline
is August 15, 2018.
RIGHT
I ran the first wash of
color in Cafés in
Cobalt (watercolor
on paper, 22x16)
directly through the
figures in the
foreground. This
immediately
established a
harmonization with
the rest of the
painting. As the
paper began to dry,
I added successive
strokes to create the This text is excerpted with
hard edges that permission from Painting
further define
Without a Net (2017) by Eric
the figures.
Wiegardt. Available at
ericwiegardt.com and
artistsnetwork.com/store.

demo
Area of
Dominance
Step 1 Step 2
I block in the large shapes by establishing their appropriate value. Next, I begin to elevate the area of dominance compared to the rest
I may need to adjust these to darker values as the painting of the painting. I then work on the rest of the painting in support
develops, so pinpoint accuracy isn’t necessary at this stage; of the area, but I try not to surpass it in degree of refinement.
however, if I start off too dark with the value construction, I may This naturally brings the area of dominance to a higher level of
be in trouble because it’s so difficult to lighten a passage. This is completion; I follow this process throughout the painting until
the time for large connecting patterns with many soft edges. completion. There’s a logical reason for this: It allows me to keep
I also try to have some representation of the darks established as the area of dominance ahead of the rest of the painting. The area
a goalpost against which to compare the mid-tones and lights. of dominance should control the composition in totality.
Step 3 Final
I place a few more twigs around the flowers and darken the values I flatten the Masa paper and mount it onto watercolor paper
at the bottom and far right of the painting so that the stronger value for stability. I make the edges around the flowers harder and
contrasts are reserved for areas around the flowers. Again, I go define more branches in the same area. I add ultramarine blue to
back and forth between the area of dominance and the rest of the some of the white areas as a contrasting color statement, which
painting, always keeping the area of dominance one step ahead of helps to strengthen the area of dominance. I rely heavily on my
everything else. I ended up with an inadvertent darker twig shape intuitive impulses at this point. Having the darker twig shape
near the center of the composition. I’ve found it best to not touch a slightly off center draws the viewer’s eye to the flowers. I’m glad
possible mistake, but better to leave it for a later evaluation. I left it alone and didn’t fuss with it; it kept the passage fresh and
expressive for Quince (watercolor on paper, 22x30). WA
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JVóE
;EXIVGñSV1EWXIV
Thomas W. Schaller, Architect of Light:
Watercolor Paintings by a Master
by Thomas W. Schaller
Discover 150 paintings from an artist
celebrated for his poignant treatment of light
and its dynamic interplay with the natural
and manmade landscape. Explore the first
and only collection of work from the popular
contemporary artist, Thomas W. Schaller, in
Architect of Light, which features his finest
paintings—buildings, bridges, boats, people
and other scenes—from around the world.
Architect of Light also includes a series of
essays in which Thomas ruminates on his
journey as an artist, what drives him, and the
“truths” he’s discovered along the way.
He offers not only insight on composition,
color and other technical aspects of painting,
but also a provocative perspective on more
9781440350726 fundamental struggles for artists, such as
R4440 · Hardcover · $45.00 overcoming self-doubt and honing one’s own,
Also available as an eBook unique voice.
“The most nearly ‘perfect’ paintings to me are rarely the ones simply characterized by
technical expertise. More often, they are the ones in which you can sense the beating
heart of the artist just below the surface—flaws included.”
Available at your favorite bookseller. To learn more about the full range of Artists Network
products, including North Light books, visit ArtistsNetwork.com.
Fundamentals
of Photography
Taught by Joel Sartore
National Geographic Photographer
LECTURE TITLES
TIME O 1. Making Great Pictures
ED F
IT 2. Camera Equipment—What You Need
FE
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4.
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Shutter Speeds
R 7
OR
off 5. Aperture and Depth of Field
BE
D ER M 6. Light I—Found or Ambient Light
BY S E P T E
7. Light II—Color and Intensity
8. Light III—Introduced Light
9. Composition I—Seeing Well
10. Composition II—Background and Perspective
11. Composition III—Framing and Layering
12. Let’s Go to Work—Landscapes
13. Let’s Go to Work—Wildlife
14. Let’s Go to Work—People and Relationships
15. Let’s Go to Work—From Mundane to Extraordinary
16. Let’s Go to Work—Special Occasions
17. Let’s Go to Work—Family Vacations
18. Advanced Topics—Research and Preparation
19. Advanced Topics—Macro Photography
20. Advanced Topics—Low Light
21. Advanced Topics—Problem Solving
22. After the Snap—Workflow and Organization
23. Editing—Choosing the Right Image
Learn the Inside Secrets of 24. Telling a Story with Pictures—The Photo Essay
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Anatomy of a Painting
Olive Trees
at Tivoli The mood of Olive
Trees at Tivoli is
consistent with Inness’
later work. Composed
of muted values,
A rare watercolor by GEORGE INNESS the painting is a
harbinger of the
encapsulates the beauty of the Tonalist movement
Italian countryside. and gives an abiding
impression of serenity.
By Jerry N. Weiss
a rguably the greatest

American landscape painter
of his—or any—era, George
Inness (1825-1894) developed a per-
sonal response to the subject,
Olive Trees at Tivoli (1873;
watercolor, gouache and
graphite on blue wove paper
with colored fibers, 7x12⅜)
by George Inness
grounded in the observation of nature
and his own spiritual interests.
hough Inness was inluenced by
classical art, and the Hudson River
and Barbizon schools, the paintings of He painted Olive Trees at Tivoli
his later years are uniquely visionary. during his second prolonged stay in
His oils, imaginative and idiosyncratic Italy, from 1870-74. Central to the
in handling, are designed with geo- composition are the trees that so
metrical precision, yet imbued with a engaged his imagination. Perhaps
mystical sensibility. He painted con- painted en plein air, the work is
vincingly realistic depictions of the marked by the impression of solitude
natural world; at the same time, his before nature that was central to
paintings are dreamlike in efect and Inness’ work. In part, this is because
impart a sense of intimacy. the artist balanced a narrow band of
Before settling in Montclair, N.J., active shapes—a row of olive trees—
Inness apparently
Inness traveled widely throughout with broad, paciic areas. painted relatively few
the Northeast, Florida and Europe, “In Italy,” he recalled in 1878, watercolors. He adopted
living for two extended periods in “I remember frequently noticing the the then-common liberal
Italy. During the 19th century, Italy peculiar ideas that came to me from use of opaque pigment,
served as a sort of inishing school seeing odd-looking trees that had been applying gouache to the
for American and European landscape used, or tortured or twisted—all tell- sky, trees and trunks in
the middle distance, and
painters, who were drawn to the ing something about humanity.” WA the grass and rocks of
country’s artistic legacy and its the foreground plane.
geographical beauty. Inness was Jerry N. Weiss is a contributing writer
especially taken with the striking for ine art magazines and teaches at the
Italian countryside. Art Students League of New York.

The composition—a diagonal foreground plane set
before a distant, flat expanse—was a favorite of
The large olive tree is the focal point 19th-century artists. Perhaps the most well-known
by virtue of its dominant presence. example is The Oxbow by Thomas Cole (American,
It’s the only shape that breaks the 1801-1848). Instead of a broad river curling toward
horizon line. It’s also the painting’s the distance, Inness observed a narrow road that
darkest mass and host to the work’s leads our eye to the horizon and the miniscule
most irregular edges. dome of St. Peter’s Basilica in Rome.
THE METROPOLITAN MUSEUM OF ART/MORRIS K. JESUP FUND, 1989
The twisting road acts as a symmetrical The artist never exhibited his works on
mirror to the bent trunk of the main tree. paper. He used watercolor in a particularly
Together, the two shapes form an oval circuit personal way, freely applying washes,
at the center of the painting. intermixing transparent and opaque
passages, and working with a
spontaneous feel that was then-uncharted
territory in American watercolor painting.
Though Inness was influenced by classical art,

and the Hudson River and Barbizon schools, the
paintings of his later years are uniquely visionary.
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Watercolor Essentials
I had to overcome several
Watercolor SOS
challenges in Hibiscus
(watercolor on paper, 15x22),
such as how to apply color to
large areas without creating
blooms; how to use value to
give a seemingly flat flower the
impression of depth; and how
From studio lighting to errant brush hairs, we’ve got to avoid overlapping edges to
build intensity and drama.
surefire solutions to nine pesky painting problems.
By Birgit O’Connor
y ou’re painting, in your groove, and then, wham, a bloom spreads

across your paper. Or, you’ve inished your painting and have moved
it to another room, and you notice that the lighting makes the colors
appear garish and the values wonky.
Sometimes it’s the smallest things that can cause the most stress during
the creative process. For a more carefree experience, implement these
tried-and-true tips for addressing head-on some common watercolor
painting challenges.

1
STUDIO LIGHTING ISSUES 2
When it comes to the kind of light to ing ixtures, lamps and bulbs. Keep MESSY,
use in your studio, it’s best to have the following in mind regarding bulbs: UNDEFINED
full-spectrum natural light, ideally • Incandescent bulbs use too much
from north-facing windows. he rea- energy and give of a yellow light that EDGES
A common mistake
son for this is that the light will stay can distort colors. watercolorists make
fairly consistent throughout the day • Halogen bulbs are acceptable, is painting an area
without direct light coming in. but produce too much heat and too soon—before an
For many of us, though, are expensive. adjacent area has had
that’s not always possible. • Compact luorescent time to dry completely.
he windows may be fac- bulbs use less energy, This can be great for
looser styles, but not
ing the wrong direction; are brighter, last longer if you’re aiming for
the studio space may and come in a wider clearer definition in
have no windows at all; range of color tempera- your paintings.
or perhaps we prefer to tures. Just know that If a loose look isn’t
paint at night or early they take longer to your goal, you’ll need
in the morning. brighten fully. to allow areas that
touch to dry completely
We all want the lighting • LED bulbs are usually before working on the
where we paint to show the more expensive, but use the next. If necessary, walk
colors as accurately as possi- least amount of energy and away from the painting
ble. If your painting style is are said to have the longest for awhile. If you need
more realistic, then full- lifespan. A 60-watt bulb uses to clean up a messy
spectrum light is very 10 watts of electricity and is edge, let the entire
important to you. If you’re a equivalent to 5000K. painting dry and then
clean up the edges
little more free-lowing, you may Basically, all you need is a clean using a wet-on-dry
have a little more lexibility. white light that’s closest to daylight technique.
Whatever our challenges, all of our without being too blue—5000K
situations can be corrected with light- should be ine.
3
TROUBLE DETERMINING VALUES
Many people have problems seeing beyond color
to the values of a subject, but there are several
ways to make it easier. he quickest way, if
working from a photograph, is to make a black-
and-white photocopy, or to do a quick, small
thumbnail sketch in pencil or in a single paint
color such as gray, blue, indigo or sepia.
Another way to see value diferences quickly
is to hold a sheet of red plastic or acetate over
a subject. he red color eliminates all other
color, leaving only a range of values.
hese methods can help you develop a better
awareness of value, which will help you create
more interesting paintings.
An easy way to see value is to use red

plastic or acetate. The red eliminates
all other colors, revealing only light
and darks. You can find sheets of red
acetate in office or art supply stores.
4
UNINTENTIONAL BLOOMS 6
Have you ever wondered why a wash may look perfect one minute, and then MUDDY COLOR
as soon as you turn away, unwanted blooms (also called blossoms or backruns) Clean colors are essential
appear? his happens when the paper surface doesn’t dry evenly or when parts to creating effective
of the painting dry more quickly than others. watercolor paintings.
Before walking away from drying paper, make sure that the surface has an Overmixing or layering
even sheen and has dulled to a more matte appearance, especially if you’ll be colors improperly can lead
to muddy-looking color in
away for an extended period of time. If you can’t babysit the painting, use a your paintings. To prevent
hair dryer on low heat to speed up the drying process. Don’t hold it over the this, here are a few pointers
same spot for too long; keep it moving. And, be aware that hair dryers have to keep in mind.
a tendency to latten and homogenize the color. • Don’t mix too many colors
at a time. Stick to no more
than two or three.
• Don’t overmix colors on
your palette. Allow colors
to mingle and mix on the
paper—the results are
much more interesting.
• Work with the most
transparent colors
possible. They’ll create
some of the prettiest
mixtures and also will
layer the best, allowing
light to penetrate
through applied layers
and reflecting the white
of the paper for
luminous paintings.
• Avoid mixing cadmiums,
opaque colors and earth
Any water applied or dropped onto a drying surface can bloom easily, ruining smooth washes and colors. When colors such
causing feathered and hard edges. If that happens, you can either leave it alone, wait for it to dry, as siennas, umbers and
and then try to lift or soften the edges with a melamine foam eraser. Or, while it’s still damp, add ochres are blended, they
more water and allow the puddle to move around the surface to spread out the water evenly.
can get muddy.
• Don’t overuse mixed
complements. Mixing
complementary colors
5
HARD RINGS
creates neutral grays and
browns that can be useful,
but complements are
much more vibrant when
placed side by side.
OF COLOR
We’ve all had those hard • Be aware that every color
rings form around the edge has a warm or cool bias
that will affect the final
of a shape. his happens mixture. If you mix a warm
when too much water has red with a cool blue, the
been added to the area while resulting purple may be
the previously applied color is dull or muddy.
still damp. he additional • Allow each layer of
water is lifting the color from color to dry completely
the surface and pushing it out before applying the next.
If you notice a hard, thick ring form has to the edge. Otherwise, layers may
formed around the color on your paper lift and mix, which results
once it has dried, it’s because you’ve applied
If an area needs more color,
let it dry completely, and then in muddy color.
and reapplied too much water, lifting the
pigment and pushing it out to the edges. reapply color in layers.

7
COLOR-MATCHING ISSUES
If you can’t ind a particular color, but know the pigment numbers that were used to make it,
you can usually ind what you’re looking for in a diferent brand of paint. he degree of hue
can vary slightly depending on the manufacturer, but it will have the same compositional
makeup and is a helpful way to have some consistency. Here’s how to “read” a tube of color.
Pigment code
Every paint manufacturer

has its own way of
labeling, but you should
be able to find the same
information on any paint
tube label.
Transparency category
Pigment code
Lightfastness rating
Series number
Pigment code
Series number: his number indicates price. Paint pig- durable) and C (fugitive). Keep in mind that most
ments can be expensive, and manufacturers group the student-grade pigments aren’t as lightfast.
material into the amount used and rarity of the raw
product. he paint is then split into a series that relects Pigment code: Each pigment can be universally identiied
the price: Series 1–5, for example, with Series 1 being the by its pigment code. his is a generic international number
lowest price. used for pigment name and color indexing. P stands for
pigment; Y for yellow; R for red; O for orange; G for green;
Lightfastness rating: his rating refers to the perma- B for blue; V for violet; Br for brown; and M for metallic.
nence and chemical stability of a color in relation to he number that follows is the chemical composition of
environmental factors, as determined by the American the pigment. For example, cobalt blue is PB28, and Winsor
Society for Testing and Materials. Some brands will use violet is PV23.
diferent methods for labeling such as Roman numerals,
letters or dots. Transparency category: Many brands will have symbols,
I’d recommend artist-grade paint with a lightfast rating letters or the word on the side of the tube that will indi-
of I (excellent) or II (good) rather than III (poor) or IV cate if a color is transparent (T or ), semitransparent
(fugitive). Winsor & Newton’s labels, for example, are AA (ST or ), semiopaque (SO or ) or opaque (O or Q).
(extremely permanent), A (permanent), B (moderately Labeling will vary by brand.
8
A STRAY BRUSH HAIR IN WET PAINT
If a stray brush hair gets stuck in a painting,
there’s a natural tendency to retrieve it with your
ingernail, but don’t try it as you may damage the
paper surface with your nail.
You don’t want to leave the hair while the painting
dries, however, because a couple of things can happen:
he hair can act like a resist, leaving a small white
line, or color can accumulate and settle along the hair,
leaving a colored line. If this happens, hopefully it’s
not in a large, smooth wash because it can be diicult
to remove. he best thing to do is to use a small
synthetic brush, such as a No. 3 round, to lift the hair
out gently. Using a larger brush can remove too much
color from the painting. Get the brush wet irst, dry
it, fan it out, and then, with a lick of your wrist, lift
the loose hair. Stifer synthetic brushes work best. If
you use a natural or a sable/synthetic blend, the hair
You can use any small synthetic brush that has a stiff tip, even a scrub
may be too soft and hold too much additional water, brush, to lift a loose hair. The idea is to allow only a few of the fibers of
which may cause unwanted blooming. the tip of your brush to catch the loose debris, not to touch the paper
with the entire brush tip and risk damaging it.
9
THE ENTIRE PAINTING
IS A MESS
Let’s say you have a painting that just
isn’t working. Consider removing all
the color by placing it under running
water using a faucet or hose or by sub-
merging it in a tub.
By rewetting it, you’re allowing the
color to soften and to be able to move
and lift again. While the surface is still
wet, use either a large, soft brush or
an original Mr. Clean Magic Eraser (or
melamine foam) to gently wipe the
surface to remove color from the
painting. Just don’t press too hard, or
you could damage the paper ibers. he
amount of abuse the paper can with-
stand will vary by brand and the sizing
used during the papermaking process.
Birgit O’Connor (birgitoconnor.com), of Bolinas, Calif., holds Most often, you won’t be able to get
signature membership in the Louisiana Watercolor Society back to the bright white of the original
and the California Watercolor Society. She’s the author of surface because some colors will be
three books, including her new release, Paint Watercolor more permanent and staining than
Flowers: A Beginner’s Step-by-Step Guide (North Light others, which will leave a ghost image.
Books, 2018), from which this article is excerpted. Available Be creative. Try using that ghost
after June 26, 2018, at ArtistsNetwork.com/store and image to your advantage as the under-
wherever books are sold. Interactive and non-interactive coat for another painting, or restart
online courses are available. the same painting afresh. WA

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The World Is
Your Studio
THERE’S NOTHING QUITE LIKE SKETCHING AND PAINTING
FOR CAPTURING THE MEMORIES OF YOUR TRAVEL
ADVENTURES. TAKING THE TIME TO OBSERVE THE DETAILS
ALLOWS US TO SEE THE WORLD WITH EYES WIDE OPEN.
By Anne Hevener
T
he 19th-century writer-naturalist Henry David horeau said, “It’s not Hazel Soan loves painting the Maasai cattle
what you look at that matters, it’s what you see.” It’s a statement that herders in their colorful blankets. “The Maasai
are tall, which makes for elegant shapes,” Soan
perfectly elucidates the beneits of traveling with your sketching
says. “In Companions, Maasai Herders [12x26],
materials. To make a sketch of that bustling piazza or glorious cathedral I’m intrigued by the gaps and spaces between
requires time. It demands that you slow down enough to really take notice the limbs and robes of the men and the cattle’s
of the scene in front of you. hat extra efort, however, is also the payof, for legs. I painted this watercolor across the spread
an unhurried pace assures a deeper experience and a greater appreciation of of a Khadi paper sketchbook; hence, the middle
seam. This paper is made of a rough, long-
your subject. fibered cotton, which holds water longer,
Suhita Shirodkar, Stephen Harby and Hazel Soan are three artists who making it easier to work wet-into-wet in a hot
clearly know how to relish the joys of travel. In the following pages, you’ll climate.” Soan used yellow ochre, cadmium red,
see how brush and paint are vital to their experience of a place. violet, ultramarine blue and brown madder.

Suhita Shirodkar made this small sketch (about 7x9) of the Palacio de
Bellas Artes (Palace of Fine Arts) in Mexico City from the top of the Torre
Latinoamericana building. “I worked quickly and nearly in blind contour with
the line to capture this angle without any real perspective setup,” she says.
Stephen Harby made

this sketch in his
5x8-inch Pentalic
sketchbook on site in
the Piazza della
Rotonda in front of the
Pantheon in Rome.
“This structure, built in
112 A.D. by the emperor
Hadrian, is widely
viewed as the greatest
wonder of the world,”
he says. “I blocked out
a rough pencil outline,
then applied a series
of layered washes
using a 1:4 mix of
ultramarine blue and
burnt sienna. The first
layer is quite diluted
and covers the page,
except for highlight
areas, which I leave
white for maximum
illumination.”
Suhita
Shirodkar
The Life of the City
Working primarily in pen, ink and
watercolor, artist Suhita Shirodkar
(suhitasketch.com) does most of her
sketching on location, working quickly
to capture an impression of the world
around her. “hat irst, quick, almost-
calligraphic capture is the one that gets
to the heart of the subject,” she says.
Shirodkar, a freelance illustrator,
enjoys world travel and often teaches
at the Urban Sketchers Symposiums.
Q Tell us about your traveling life.
A My travel experiences range from

trips I take to teach urban sketching to
trips I take with my family. My husband
and I have two children, ages 10 and
12, and I’ve painted on all of our family
travels since they were little. Seeing me
paint through our travels is second
nature to them.
I travel domestically and interna-
tionally, and I love it all. I think I
could live out of a suitcase with just a single pass—almost always in less than an hour, which Shirodkar visited
few trips back home for a little break forces me to work small. I never touch up my pieces later. Chicago in 2017 for
an Urban Sketchers
now and again. In reality, though, I like to preserve that irst impression, so I leave in the drip-
Symposium and
I travel about three or four times a ping paint, the “uninished” bits, the smudges and smears; sketched in the city
year—usually a week or two at a time. they’re a part of the experience. Most of my work is done during breaks in her
with colors mixed wet-into-wet. It makes for less predictable teaching schedule.
Q How do your travels impact your results, but allows for the watercolor to work its magic. “The energy at
Crown Fountain is
art-making? exactly what I love
Q What do you carry with you? about cities—the
A Most of my art is plein air urban buzz of people
sketching and painting, created on A I carry a sketchbook, typically a 9x12-inch Stillman & gathered together in
shared spaces,” she
location. It’s an unedited response to Birn Beta; a small travel-sized palette with a mix of artist
says. “Here, the kids
where I am, what I see and what it watercolors; water; brushes; and pens. My “portable studio,” and adults romped in
feels like. hat’s what makes traveling as I like to call my sketch bag, accompanies me everywhere the cool water while
such a great space in which to create: I go—not only when I travel, but also in my everyday life. the huge fountain
I see more keenly than usual, and I’m ‘spat’ water at them.”
more aware of experiences. Q How do your travels continue to inspire your art-
making at home?
Q Describe your sketching process.
A I try to keep a bit of the traveler in me even at home—
A Each sketch is made quickly in a to help me see the unusual in the everyday and mundane

4 Tips for the
Traveling Artist
1. Even if you’re primarily a studio painter,
carry a sketchbook wherever you go.
Sketch the little things—the impressions
that may get lost later if not noted: a
gusty breeze, the light at a particular
hour, the feeling of being in a crowd.
2. Learn to paint with a limited color palette

and a (relatively) easy setup. The more
mobile you can be, the more adventurous
you can get with where and what you
paint. Since I love to paint in the city, I’ve
learned how to work standing up, while
holding my supplies, in a crowded space.
3. Be truly interested in the places and

people you encounter. It makes a huge
difference to your art if you feel a personal
connection to a place—no matter how
many times it has been painted before.
4. Be flexible and willing to change a plan

to respond to what you might encounter.
When traveling, the best paintings often
arise from grabbed opportunities.
—Suhita Shirodkar
After sketching the Empire
State Building on a New
York City street, Shirodkar
turned to face south and
caught this lively scene with
In her sketch of these Painted
pedestrians and taxis in
Ladies in San Francisco, Shirodkar
front of the Flatiron Building.
created unity by allowing the
highlights to read as white—only
telling the story of color and
details in the shaded areas.
stuf. he little things that happen in

life then become events and scenes
worth capturing.
Q What types of places do you

recommend for the best sketching
opportunities?
A Travel to places that attract your

interest. Some people are drawn to
quiet places in nature; others to great
architecture; others to busy city
streets. Each has its own challenges,
but as long as it’s a place that speaks
to the artist, any challenge can be
resolved. Standing in New York City
at a bustling intersection to sketch
isn’t an obstacle for me; it’s my happy
place. Find your happy place and then
try to capture the spirit of what moves
you in your work.
Stephen Harby
A World of Architectural Wonder
Stephen Harby (stephenharby.com) months on the legendary Cunard Lines ocean liner, the SS Harby made this
is an architect, educator and artist. Queen Elizabeth. Since then—well, since the age of autono- watercolor of the
Parthenon, which sits
He maintains an architecture my—I’ve traveled as often as the spirit, funds and
atop the Acropolis in
practice in Santa Monica, Calif., and opportunity permit. Athens, on 11x14-inch
is a visiting lecturer at the Yale Arches paper. The
School of Architecture, where he has Q How does traveling impact your art-making? Parthenon, he notes,
directed the school’s study program is one of the earliest
buildings [447-432
in Rome since 2002. He also leads A One non-negotiable tenet of the Yale School of B.C.E.] designed by
cultural and artistic tours for small Architecture, where I also was a student, was that stu- known architects
select groups to destinations all dents maintain a sketchbook to document phenomena [Iktinos and
over the world. observed in the built and natural environments. For me Kallikrates]. “The use
of color permits the
and others, watercolor made its way into these sketch-
bright warm tone of
Q Describe your experiences as books to give added clarity and vividness. It wasn’t long the stone to be
a world traveler. before my images got larger and transitioned from the framed by the cool
rather unforgiving paper of the typical sketchbook to the blue sky,” he says,
A I realize that I was born to be a pas- inviting surfaces of Arches 140-lb cold-pressed. “and the gradations
of light created by the
sionate traveler. My American parents sun-cast shadows
were sojourning in London upon my Q How do your travels continue to inspire you when define the forms.”
birth and brought me home at six you’re home working in the studio?

BELOW A I’d say that 80 percent of my past A My favorite place to sketch and paint by far is Venice,
Harby created this work has been done in the ield just as it must have been for Whistler, Turner, Sargent
larger-format piece
(11x18) on site at the
during travels, which means that and so many other artists before me. Called “la
Temple of Angkor Wat both the size and amount of detail Serenissima” when it was an autonomous republic, its
in Siem Reap, Cambo- are limited by the constraints of time serene atmosphere results from the absence of the bustle
dia. This is the great on site and size of my luggage. and clatter of wheeled vehicles—since canals replace
lost city of the Khmer Within the past few years, however, streets and roads.
kings whose heyday
lasted from the ninth I’ve become more interested in work- The quality and movement of light, thanks to the
to the 14th century ing in the studio to complete larger, city’s marine atmosphere and the reflections off the
A.D. “I painted at more complex paintings that are water, offer endless inspiration, as does the wonderful
sunrise,” he says, “as inspired by sketches and smaller architecture, which is always presented with great vistas
the temple forms
emerged from the watercolors I produced on-site. hus, and viewpoints.
mist right before my my travel sketchbooks, of which I I also find Rome greatly inspiring due to its rich
eyes. It’s a reminder of have dozens, serve as a catalyst for palimpsest of architecture from all ages. I’ve had the
the plein air challenge: potential larger-format paintings. pleasure to visit the city many times over the past 50
While there’s pressure
to adapt to changing years and have traveled there with architecture students
conditions, one must Q What’s your favorite location for more than a decade. I’m sure I’ve done more sketches
fix the scene to a for painting and sketching? and paintings in that ancient city than anywhere else.
specific point in time.”
The Things
He Carries
I always travel with at least a
sketchbook, but often bring a
setup for painting with an easel
in larger format. I never check
luggage, so I’ve organized my kit
to be as light and compact as
possible. I use a lightweight
camera tripod with telescoping
legs, on which I’ve mounted a
9-inch aluminum strip which
holds a sliding clip. This, in turn,
secures a Masonite board cut to
fit the side flap of my roll-aboard
suitcase. Two of these boards
sandwich however many sheets
of paper I think I’ll be able to use.
I’ve created a thin plywood shelf
that slips onto two of the tripod
legs to hold water, palette and
brushes. This setup allows me to
work standing up and eliminates
the need for a folding stool,
which takes up valuable space.”
—Stephen Harby
“I did this monochrome sketch at the Pyramids

in Giza in my sketchbook,” says Harby. “These
are the largest man-made structures on earth
and the only surviving wonder of the world as
identified in Hellenistic times. I defined perhaps
four gradations of light value—from full sun to
deep shadow—using layered washes. The vast
scale and emptiness of the space are conveyed
and dramatized by these colossal objects.”
Hazel Soan
In the African Bush
On a painting holiday Artist Hazel Soan (allsoanup.com) grew up in the U.K., a studio where you can work uninter-
in Kenya, Soan’s where she studied at Camberwell and Leicester art colleges. rupted; always have an exhibition on
group was invited to
Her work has been exhibited widely in her home country the horizon that you can work toward;
paint in a Maasai
Village in the Rift and farther aield at venues in Namibia, Venezuela, South and always travel, so you never get into
Valley. “The people Africa and Zimbabwe, among other places. Soan has been a rut.
were welcoming and traveling across Africa since 1981 and keeps a studio in Cape
even invited us back Town as well as in West London. he people and animals of Q How do your travels impact your
for a wedding,” says
Soan. “It was the Africa—particularly those in Southern Africa, East Africa art-making?
colorful sarongs that and Malawi—feature prominently in her work.
attracted me to paint A Almost all of my work is made
Mother Africa Q Tell us about your traveling life. during my travels or back in the studio
[watercolor, 30x22],
using reference from my trips, so my art-
depicting three
Maasai ladies A I travel often and frequently, sometimes for prolonged making impacts my travels rather than
engaged in a group periods and always for painting. When I left college, a vice versa. I love to paint strong light
conversation.” professor gave me three pieces of advice: Always maintain and shadow, and I prefer to paint with
yellows, reds, blues and browns than
with greens, so I’m often traveling to
places that ofer abundant sunshine
and arid landscapes.
Q How do you combine travel

with your sketching and painting?
A Watercolor is ideal for travel

because the materials aren’t cumber-
some. I carry my materials in a
shoulder bag: brushes, an enamel pal-
ette with pans, 5-ml tube colors, three
lightweight water pots, a kitchen
towel, a pencil, a blade, an eraser and
water. My paper (100 percent cotton
paper, mainly Saunders Waterford,
Arches and Khadi) its inside the bag,
unless I’m traveling by car, in which
case I might bring something larger.
he idea is to have the bag over my
shoulder, with my right hand free, so
that as soon as I see something I want
to paint, I need only to lip back the lid
of the bag; grab my palette, brushes,
water and paper; sit myself down or
lean against a wall; and begin.
I usually have a camera in my bag,
too, for momentary subjects that are
impossible to paint on site. I carry
about 35 tube colors, but use very
few in any one painting. Sometimes
I’ll go out with just three to six colors
and a couple of brushes carried in my
pockets. I can paint anything if I have
a cool and warm version of the three
primary colors.

“Elephants are lovely creatures,” says
Soan, “and artistically, they offer
wonderful form and mass for painting.
Being gray, they can be painted with
yellow, red and blue in quick succession by
For the Love
building both the tone and color through
the values inherent to those three hues.”
Soan’s painting, The Silent, Heard
of Elephants
(watercolor, 11x15), depicts a herd that had I first traveled to Africa in 1981
just come down from the forest slopes of when I was offered an exhibition
Kilimanjaro to cross the plain at Amboseli. in Harare, Zimbabwe, just after
the country gained independence.
Unfortunately, I learned on
opening night that I was
Q What advice would you give forbidden by Customs and Excise
to a would-be travel painter? to sell anything. So, I went off
instead to the National Reserve
and fell in love with elephants!
A Do it. While traveling to a faraway I’ve returned to Africa almost
destination may seem daunting every year since, painting wildlife
before departure, once you’re on the on safari. My wet-into-wet
road, it gets easier. In my experience, approach to watercolor was
what you forget to pack is usually born and honed while painting
available in some form—or doesn’t “I used only Prussian blue and cadmium red on these trips.
for Incoming [watercolor, 14x11],” Soan says. I particularly like painting the
matter anyway. And, people are gener- Kalahari, because a lack of thick
“The painting demonstrates what I love
ally eager to help anyone in trouble. most about watercolor—that less is more. foliage means I can see, and
A motto on my studio wall in Cape The white paper as the light, the power of therefore paint, the whole animal
Town says: “Fear is temporary, regret suggestion, the descriptive brushstrokes and from top to toe. Herd animals are
is forever.” here’s so much to see and the complementary nature of color combine great to paint; when one animal
to make an impact. The ambassador to the moves on, another takes up the
paint; don’t put it of. One last tip: European Union in Southern Africa pose of the first.
Don’t forget spare batteries for your commissioned a life-size print, which hangs —Hazel Soan
camera! WA at the embassy in Windhoek, Namibia.”
THE
Zen of Traveling
WITH ART SUPPLIES
LESS IS MORE WHEN IT COMES TO PACKING
FOR TRAVEL FOR PLEIN AIR PAINTING.
By Thomas W Schaller
ABOVE
Footbridge
(watercolor on
paper, 15x22)
ABOVE RIGHT
L ike most people who travel for work, I sometimes feel as
if I live on airplanes, so packing for trips has taken on
added signiicance. I confess to being slightly obsessed
with advancements in luggage or the latest space-saving
trick, as I never want to be “that guy” who comes home
after a month of teaching on the road only to discover an unworn
sweater, a forgotten book or a lost pair of sneakers hiding at the bottom
of the suitcase. Standard protocol is to ask oneself what items to pack for
a trip, but my solution to prevent overpacking has been to do the oppo-
Here I am in action in site: Ask, instead, “What can I leave behind?”
Fengjing, China.
PRIORITIZE FUN
Apply my obsession with eicient packing to the topic of packing art
supplies, and my ixation becomes even more acute. Over the years, I’ve
tried to design the ideal complete, compact, lightweight on-site painting
9
3
6
4
7
kit that can be set up and broken down quickly. After many
false starts and mistakes, I’ve inally come pretty close to
something that works perfectly for my situation.
here are at least a thousand reasons why painters
everywhere dread the very idea of painting en plein air, but
if I had to identify the single most common mistake that
painters make initially, it would be trying to replicate how
we paint on-site with how we paint in the studio. It’s so
easy and feels natural to commit the entirely self-inlicted
error of hauling almost everything from a studio through
cities and across the landscape. At irst, understandably,
it’s simply diicult to determine what’s truly needed, but
the whole process of on-site painting can quickly become a
cumbersome and exhausting experience if too many sup-
plies are present. What that means for the painter is that

Everything needed for
days of painting fits
snugly in my small
backpack. Larger paper
Travel
can be taped to
lightweight boards made
of corrugated plastic and
Essentials
carried separately. 1. Misc: water containers; sea
sponge; masking tape; water
mister by Holbein
2. Tripod: collapsible carbon fiber
with camera mount by Manfrotto
3. Paper: Fabriano Artistico Block
and half sheets by Fabriano; not
shown: Saunders Waterford; Arches
4. Easel and shelf: custom made
8 by Rolando Barrero
5. Palette: hand-made silver
plated brass palette by Steve
Fanelli of House of Hoffman
6. Sketchbook: soft cover Beta 9
Series by Stillman & Birn
7. Brush holder: American
Journey from Cheap Joe’s
11
8. Backpack: canvas and leather
by Montezemolo (18-in tall; 12-in 10 12
wide; 5-in deep)
9. Paints: Daniel Smith Artists
Materials; Holbein
10. Pencils: aluminum clutch
pencil by Worther; Vintage
Meet the Artist
Wooden Mechanical E-Motion Thomas W
sketch pencil by Faber-Castell; Schaller
Palomino Blackwing–Pearl Series; (thomaswschaller.
classic graphite sketch pencil com) is an
(not pictured) architect and
11. Eraser: MONO Dust Catch artist living in
by Tombow Los Angeles,
Calif. His
12. Brushes: Perla, Versatil and instructional DVDs and new
Prado series by Escoda; various book Thomas W. Schaller:
Raphael; Savoir-Faire Architect of Light are available
Art board: lightweight on artistsnetwork.com/store.
corrugated vinyl by Artmate/
Champion (pictured on page 35)
LEFT
All of my travel the session is wiped clean of any fun. and charger share the space, and it all weighs only a few
essentials fit inside
one small backpack. As soon as painting becomes an activ- pounds and can be carried onto any airplane. I dread
ity we don’t enjoy, we’re doing packing my supplies with checked luggage. Except for some
ABOVE RIGHT something wrong. occasional scrutiny given to my precious palette, I’ve been
My plein-air tripod all over the world without issue. Well, OK, sometimes I’ve
and easel are all set
forgotten to empty the water bottle!
up and ready to go.
LESS IS MORE One of the most surprising beneits to come from my
With some thought and experience, eforts at “supply minimalism” and the editing of painting
the answer to the question “How much materials is the parallel beneit of becoming better at
do I need?” is almost always, “A lot less editing my paintings. Having the mindset of carrying “only
than you might think.” All the art the essentials” has helped make it more clear to me what
materials shown here—enough for must be included in my paintings and what can be left out.
days of painting—fold up and it I believe that this approach has helped make my work—
nicely inside a small backpack. My both in the studio and out—more clear, direct and
passport, wallet, phone, headphones impactful. And I paint with more joy than ever. WA
THE POWER OF
SUGGESTION
COLORADO ARTIST STEVE GRIGGS USES
ENERGETIC BRUSHSTROKES AND BOLD COLOR
TO EVOKE A SUBTLE SENSE OF PLACE.
By John A. Parks

T
here are times
in painting when
suggestion is more
powerful than
careful and com-
plete description,
when a brush-
stroke can serve
as a whole tree, or an area of loose,
watery wash can summon an entire
ocean. Instead of engaging in a metic-
ulous account of the world, the artist
presents an array of hints and simpli-
ications, relying on the viewer to
complete the vision.
To do this, the artist must ind
exactly the right set of clues to trigger
the appropriate response, something
that requires a deep understanding of
the properties and possibilities of the
medium. he viewer, meanwhile, gen-
erally interprets and reads sense into
the image.
his approach is central to the
watercolors of Steve Griggs, a
Colorado-based artist whose work
is composed largely of cues and sug-
gestions that, when taken together,
add up to highly evocative—and
extremely satisfying—pictures.
“I keep ‘viewer completion’ in mind
and allow just enough information for
viewers to know what’s being
expressed,” says the artist. “I allow
them to enter into the scene and
bring their own images and experi-
ences to complete the painting.
I believe this is what helps to create
a painting that’s alive and that can
tell many stories to many people.”
A Painter of Places
Griggs divides his work into
landscapes and cityscapes, and he’s
equally at home with throngs of He collects other images in the more traditional fashion ABOVE
people as he is with forests and on painting trips, which he then records in sketchbooks Saturday in the Park
(watercolor on
mountains. “Essentially, I’m a painter or on canvas.
paper, 28x20)
of places,” he says. Gifted with an Along with his commitment to visual brevity, Griggs
almost-photographic memory, is a master of atmosphere, imbuing his work with a sense OPPOSITE
Griggs says that sometimes he’ll just of narrative. Many of his paintings evoke watery gray Shape Shifter
glimpse a scene from a car and then light and project a relective moodiness that can be highly (watercolor on
paper, 10x13)
be able to recall it in its entirety afecting. Feelings produced by the work often emerge
when he goes to work in the studio. from the story behind the image.
the focal point, but as a participant in
the magic happening around it, with
sails down and secure, as it loated on
the glassy, warm-gray water. It
relects the momentary peace of this
part of the season and the oneness
of the moment.”
Griggs also notes that At Rest car-
ries with it a more personal meaning.
Now in his early 60s, the artist is
committing himself to painting full-
time after a career as a designer. “he
painting expresses where I am in my
own life journey: entering the fall of
At Rest (watercolor life, but at rest and in love with the
on paper, 13x10) rich colors of my world. I know winter
and its value study Sailing Boldly is coming, but I’m sailing boldly, and
In At Rest (above), for example, we’re presented with I don’t want to miss a moment of the
a pared-down view of a sailboat loating in an expanse of spectacular fall I have ahead of me.”
water. “It’s a painting about the end of the sailing season,” Powerful as this narrative is, Griggs
explains Griggs. “It’s about knowing that continuing to sail says that it’s an invention, essentially
is risky because hazardous winter storms arise quickly. a work of iction. “he background
But, choosing not to sail means missing the absolute washes were a continuation of some
beauty of autumn. his sailor has found a place of peace washes I’d been working on in other
and rest amid the fall color and still water.” landscapes, and the boat was drawn
With this information, the painting takes on a new from some sketches I did in Egg
dimension. he moody, autumnal light carries with it the Harbor, Wis.,” he recalls. “he tree
threat of bad weather, and the presence of the sailboat marks were scratched in with my pen
indicates a sailor who’s chancing his luck. To reinforce knife. I do lift sometimes, with tissue
this feeling, Griggs has engaged in a very physical bit or a sponge, but rarely. Mostly I choose
of painting. “he background was applied aggressively: to scratch back to the white paper or
wet-into-wet with rich, thick paint strokes,” he says. a warmer wash beneath the dark,
“Despite the way I approached the background, as the heavier glaze while it’s still damp.”
paint settled and melded together, it became placid and Griggs keeps other techniques in
retained the chroma and beauty of each color,” the artist his arsenal, including the use of
continues. “I wanted the boat to be of-center, not as granulation medium to create more

A Sketchy Vibe
Although his paintings are often achieved
at a fast pace, Griggs develops ideas and
images over long periods of time, often
working them up in sketchbooks and then
making multiple versions of a finished piece.
“I love my sketchbooks,” he says. “I ‘live’ in
them and have done so for most of my life.
I usually go through a book about every two
months or so, sometimes even one in a month.
“I make it a practice of putting the date on
the first page, so I have a reference point for
where I was and what I was doing during
that period of the year,” Griggs continues.
“I include everything from quotations,
inspirational statements and my own
thoughts, to exercises for working on a new
way to make a painting or explore a new
theme. I do a lot of practice paintings and
drawings in the pages as well. And,
sometimes I’ll even jot down a stray phone
number or grocery list in them.”
Griggs stresses the importance of
continuous work and engagement. “I believe
it’s important to do something every day
to keep the muscle memory at a high level.
Sometimes I’ll draw or paint figures or
groups of people in a social setting to keep
these skills sharp. I work out things like
format, composition, color and value by
painting and drawing in my books, so
many of my final paintings have a direct
link to my sketchbook.”
One example of this is Beneficence of
Nature (on page 42), a painting that began
as an experiment in a sketchbook.
“I had bought two new colors—turquoise and
quinacridone sienna,” he says. “I wanted to
see what I could do with them.” From his first
free sketch, augmented with a little ultra-
marine, Griggs eventually developed
a final painting.
Sage Advice
Griggs, who’s an enthusiastic
workshop teacher, offers advice
and inspiration to beginners.
“I like to encourage others
to look to their artist within and
begin to explore and free their
talent,” he says. “At the end of
a workshop, my hope is that
each individual will leave with
paintings that are expressions
of his or her own voice, not a
copy of my work.
“On a practical level,” Griggs
continues, “at the beginning
of a workshop, I encourage the
participants to stand up instead
of sitting to paint; this frees them
to move.
“I also tell beginning painters
to take risks, to avoid comparing
their work to other artists’ and
to have fun.”
LEFT
Beneficence of Nature
(watercolor on paper, 13½x9½)
and its sketchbook beginnings
OPPOSITE
Impossible Dreamer
(watercolor on paper, 9½x16)
textured surfaces. He also has a spray

bottle that he has altered so that it
emits an uneven, spattering spray.
his can give a lively, variegated tex-
ture to an area of painting. Both of
these techniques incorporate an ele-
ment of chance, something the artist
embraces. “Sometimes I ind myself
just watching the paint as it dries,” he
says. “It’s always exciting.”
Working Through
the Challenges
Because Griggs adopts an open style
and assertive techniques, he’s able to
establish a lively rhythm of work.
“I generally paint quickly,” he says,
“which keeps the subjects as simply
expressed shapes. Over the years, I’ve
let go of the usual methods of paint-
ing. While I know how to paint in a
‘traditional’ watercolor style, I’ve

developed my own style of painting that pushes the bound-
aries of traditional or step-by-step methods. I love Meet the Artist
exploring what watercolor can do—and how simple brush- Steve Griggs
marks can afect people.” (stevegriggswatercolor.com)
Griggs inds that his major painting challenges are more was born in Detroit and
cerebral than technical. “At times I ind it challenging to studied product design at
control the critical voices in my head that are constantly Michigan State University.
trying to deine for me what’s good, acceptable and worth Taking courses in painting
and drawing as part of the
submitting for exhibition or sale,” he says.
program, his interest in
“I also ind it challenging to work through the moments watercolor developed. He
when I seem to be stagnating,” Griggs continues, “but every studied further at Art Center
painting seems to have a turning point where it begins to College of Design and then took up a career in
inally come together. I have to remember to trust the pro- the design world, eventually working in interior
cess and keep going until things fall into place. I ind it design. His work took him to Denver, where he
diicult, sometimes, to stop painting at that moment when now lives, although many of his paintings remain
inspired by his native Michigan. His watercolors
I’ve said just enough. If I keep going, I’ve said too much.” have been exhibited widely, and he has garnered
many prizes, including the Colorado Watercolor
A Personal Connection Society State Exhibition Best of Show award in
In the end, Griggs is clear that what’s ultimately important 2017. He’s currently transitioning into life as a full-
to him is the connection to others that he achieves through time painter. He’s a signature member of the
his painting. “he most rewarding response to my work is Rocky Mountain National Watermedia Society
and the Colorado Watercolor Society.
for the viewer to have an immediate reaction to the story
or the beauty expressed in my paintings,” he says. “People
who’ve purchased my paintings tell me they see something
new and diferent in the work each time they look.”
John A. Parks (johnaparks.com) is a painter, a writer and a

Turn for a demo
member of the faculty of the School of Visual Arts in New York.
demo
The Long Road to a Painting

Steve Griggs shares his process for creating a work
that offers a personal connection for each viewer.
No matter what type of artist one is, there’s no
denying that it takes discipline, practice, tenacity Photo
and commitment to develop not only the technical I took this reference photo
skill, but also the artistry to make a piece effective. on a cloudy autumn day in
Of course, not everyone is attracted to the same northern Michigan. As you
thing, which makes art wonderful and exciting. can see, the trees were just
I don’t paint using a realistic style, although beginning to change.
I find great beauty in realism and have tremendous I was particularly taken
respect for what it takes to represent a scene as with the red tree in
realistically as possible. I choose, instead, to paint the center.
in a style that’s loose and evocative, in a medium
that can be unruly and unforgiving.
Painting in this way isn’t without its challenges.
So many factors can influence whether a painting is
captivating or just ordinary, and whether the viewer
enters the scene or simply sees it from the outside.
I’m never the master of the paint. In this style of
watercolor painting, the paint and the artist agree
to a respectful relationship. I often have to practice
Sketches
a painting several times before I get it just right. I mused in my sketchbook,
Sometimes people ask me how long it took to do contemplating the
a painting. My tongue-in-cheek response is “62 painting’s composition.
years.” While not entirely true, I’ve been painting for Should I move the trees to
the majority of my life, either on my own or as part the right side of the road?
of my formal education. Each painting is influenced Should I crop horizontally
by those years of practice and schooling. or vertically? Tightly or
This is a series of practice sketches and paintings loosely? What type of
I used to create Coming Home. Although I started brushstrokes should I use?
with a photograph, the intention was never to I also explored values and
re-create the scene as much as to “infer” it, color—and even the
changing the perspective slightly and letting the painting’s title.
viewer complete the story. —steve griggs
Preliminary Studies
Next, I did a few quick painting studies to help me determine how I wanted to paint the perspective of the road.
I wanted the viewer to think about where the road was headed. What’s just beyond what can be seen?
In the sketch on the right, I left the red tree obscured by the others, with just a hint of color peeking through.

Artist’s Toolkit
PAPER
• Arches or Fabriano 90-lb. and 140-lb.
rough
WATERCOLOR
• Winsor & Newton Cotman for
sketching and preliminary studies;
Daniel Smith and Holbein for paintings
MOST-USED COLORS
• French ultramarine blue, cobalt blue,
cerulean blue, manganese blue,
cadmium red light, alizarin crimson,
burnt sienna, cadmium yellow light,
pyrrole red, quinacridone sienna,
green turquoise light, cobalt teal blue,
neutral tint, sepia, indigo
BRUSHES
First, a Test • Princeton Neptune and Escoda
Versatil
In this practice painting, I focused on the road in order to
draw the viewer’s eye all the way to the horizon line.
Final
In the final painting, I slightly adjusted the road’s perspective, offering more than the photo showed and letting the colors of the tree
come forward with their beautiful dance. I named this painting Coming Home (watercolor on paper, 14x21½); I grew up in Michigan,
and whenever I’m there, it feels like home. The viewer, however, might have an altogether different experience when looking at this
painting. That’s my goal: to paint a scene that allows viewers to connect with whatever story it’s telling them. WA
Bright Ideas
a lthough I have a serious case

of wanderlust and travel
almost annually to places
such as Budapest, Lisbon and the
Amali Coast to draw, sketch and
paint, there’s something to be said
for a quick art getaway just a couple
of hours from home. It doesn’t
require a passport; it’s cost-efective;
and it provides uninterrupted days
of artistic exploration.
Five years ago my close friend, Pam
Garrison; my sister, Carol Mulvenon;
and I decided to begin a yearly
January pilgrimage to the desert for
winter art retreats. Making a trip for
the sole purpose of drawing and
painting together over a long week-
end felt like the perfect way to ring in
the new year. So, each year, sometime
in mid-January, we converge on Palm
Springs with our sun hats, stacks of
sketchbooks, inspirational art books,
watercolors, brushes and loads of
ideas. It’s a luxury to devote an entire
three-day weekend to art-making at
a mid-century vacation rental with
a pool and a Jacuzzi. Our retreat spot
is just a 90-minute drive for Pam and
me, and an easy light for Carol, who’s
usually escaping Midwestern snow-
storms and freezing temperatures.
Who says you have to travel far and
wide to fuel your creativity?
LEFT TO RIGHT: Pam, Carol and me
A Journey
Near Home
PHOTOS COURTESY OF MARY ANN MOSS
An annual weekend art retreat stokes the

creative fires all year long.
By Mary Ann Moss

FACE IT
All year long, Pam,
Carol and I send
one another emails
and texts of things
we want to try and
paint at our art
retreat. Of course,
some ideas fall by ABOUT ME
the wayside, but we A public school teacher in Los
always make time Angeles by day, I moonlight
for portraits of all as an artist by night. I’ve got
kinds. A rousing bookcases filled with hand-
session of blind- bound stacks of visual journals,
contour portraits, sketchbooks and travel
for example, journals. For more than a
always leads to decade, I’ve been blabbering
gales of laughter. about my art and travel exploits
to anyone who will listen on
my blog, Dispatch From LA
(.). In
between keeping sketchbooks,
traveling and educating young
“ The art retreat isn’t about making students, I occasionally get a

big idea and turn it into an
art. It’s about play—making marks on online class (.
/--).
paper that sometimes look like
something … and sometimes don’t.
”
LINGERING EFFECTS
Our annual Palm Springs art
MORE THAN ART retreat beckons to us quietly
Our only goal throughout the year, like a giant
is to play and moon glimmering on the horizon.
explore inside All through the spring, it
the covers of our becomes a soft halo of light that
sketchbooks. settles around our daily lives,
And, that’s reminding us of the lovely date in
exactly what we the desert we’ve just shared. As
do for hours at a the year draws to a close, we
time, occasionally turn our faces toward the desert,
taking a break to knowing that in another month
eat, pour a glass or so, rain or shine, we’ll gather
of wine or dive there, like we always have, for
into the pool. another art-filled playdate.
LEFT
The Museum Is Now
Closed (watercolor
on paper, 11¼x7¼)
RIGHT
The View From 11B
(watercolor on
paper, 26x20)
Taking on the City

A LOVE FOR TRAVEL AND AN INTUITIVE
APPROACH TO PERSPECTIVE, SHAPE AND LIGHT
INFORM INGRID E. ALBRECHT’S APPROACH
TO EXPRESSIVE CITYSCAPES.
By Maria Seda-Reeder

C
hicago-based artist Ingrid E. Albrecht never
really traveled as a child—or experienced
life in a big city. “My family was poor,” says
the Dixon, Ill., born and raised painter. “he
biggest trip we ever took was to Iowa.”
But, Albrecht always felt that she’d like to
travel. When she won a trip in high school to study abroad
in eight European countries, it not only widened her out-
look and perspective, but it also made a lasting impression
on her artistic vision that came into play later in life.
Getting there was a circuitous route, however.
OPPOSITE
Meet Me at the
Picasso (watercolor
on paper, 20x26) THE ROAD TO AWARENESS
Albrecht still remembers seeing Rembrandt’s he Night
BELOW
The City Awakens Watch and Van Gogh’s A Pair of Shoes at museums on that
(watercolor on European trip—and the impact of those moody palettes
paper, 26x20) are visible in her recent body of work.
Surprisingly, she never thought

that art would be a profession she’d
be able to pursue. “My parents wanted
me to be a nurse,” she says, explaining
that when she was considering future
career paths, “women were either
nurses, teachers or secretaries.”
Albrecht entered nursing training out
of high school, “hated it,” switched to
dietetics and inally into teaching.
When she had the opportunity to go
to Argentina as a reading specialist,

teaching speed and remedial reading courses after college “WHEN I CREATE, I WANT PEOPLE TO
graduation, she took it. In doing so, Albrecht had the SPEND A LITTLE MORE TIME LOOKING AT
chance to travel all over South America.
Upon her return trips back to Argentina from Dixon,
MY PIECE. HOW DO I ACCOMPLISH THAT?
she’d make sure to stop through a new country she’d never I FIND A DIFFERENT PERSPECTIVE.”
been to before. In the mid-70s, she took a job as a bilingual
language arts instructor in San José, Costa Rica, driving her-
self down the Pan-American Highway in a Datsun 240Z. artist, you have to be aware. You have to have experienced
“Art was nowhere in my mind,” she says, “and yet all of life in some way.”
these experiences of interacting with and learning about After becoming disillusioned with teaching at the elemen-
other cultures made me aware of my surroundings and tary level as a bilingual irst grade teacher back in Elgin, Ill.,
helped me become who I am today. I think that to be an Albrecht began to take a few art classes. While in school, one
of her teachers noticed her talents and convinced her to While Albrecht’s lifelong interest in
enroll at he American Academy of Art, in Chicago. learning about other cultures remains
Albrecht graduated from the academy in 1988 and gave steadfast, her artistic output has
herself ive years in which to establish a gallery and work- become less about painting “things”
ing studio where she could teach other aspiring and more about taking an intuitive
artists—and she never looked back. Some 20 years later, in approach to “designing more with
the middle of the economic recession, she did the same shape and value,” she says. “When I
thing again, setting up a working studio called Ingrid’s create, I want people to spend a little
OPPOSITE
Originals, Inc., this time in Chicago. “It was one of the best more time looking at my piece. How
Clearance 12' 5"
(watercolor on decisions I’ve ever made,” she says. do I accomplish that?” she asks rhe-
paper, 26x20) torically, answering her own question
in the same breath. “I ind a diferent
BELOW THE FOCUS ON PERSPECTIVE perspective.”
Train’s Late, I’m
Late, Please Wait Watercolor artist Irving Shapiro was an early teacher and To that aim, years ago, when she
(watercolor on inluence on Albrecht’s work, and she says that he encour- was still painting “things,” Albrecht
paper, 26x20) aged his students to “paint what you know.” created a small series based on studies
from the vantage point underneath a
peony bush that was backlit by the
sun. She sold all three pieces in that
series and attributes those sales to
the distinctive perspective she was
able to take on the common subject.
“When creating a new reality, you
need to give people something they
don’t usually see,” she says.
his radical use of perspective is
evident in Albrecht’s recent “Picasso”
series featuring the Picasso public
sculpture in downtown Chicago’s Daley
Plaza, but from several stories above.
Each piece frames the massive sculp-
ture from an aerial point of view.
Albrecht describes how she heavily
edited and deleted her source imagery
to achieve the unique compositions. “It
all goes back to design and only includ-
ing what’s important—not illing in
all the blanks.”
For Meet Me at the Picasso (on pages
50-51), one of three in the series, she
used “big shapes” of contrast, along
with patterns of light and shadow criss-
crossing the paper for added detail. he
result is an impression of the kind of
raking light that occurs on cloudless
evenings when shadows loom long and
the sun hangs low in the sky. his
approach takes a recognizable subject
and makes it more evocative.
THE STRUCTURE
OF LIGHT
Albrecht has a self-proclaimed fasci-
nation with alleys and light iltered
through cityscapes. he contrast
between igure and monumental

Artist’s Toolkit
SURFACE
• YUPO 144-lb., Arches
140-lb. cold-pressed
and Fabriano 300-lb.
rough
PAINT
• Daniel Smith and
Winsor & Newton
BRUSHES
• Escoda’s Perla
Toray white, Prado
and Versatil
synthetic brushes
in various sizes.
Albrecht has used
expensive kolinsky
brushes before, but
also says that she
does “magical work
with old scruffy
brushes.”
MISCELLANEOUS
• white spiral-bound
Kilamanjaro
sketchbooks by
Cheap Joe’s,
although the artist
rarely makes a
preliminary drawing
on the paper
prior to painting.
“I’m more of an
intuitive painter,”
Albrecht says,
likening the
restrictions of pencil
marks on a surface
to “painting in a
coloring book.”
ABOVE
Alley Grit architecture within those uniquely same thing, but just a little bit diferently.” Such marks
(watercolor on
paper, 26x20) urban locations allows for the sharp delineate many of the ire escapes throughout the painting.
contrast between light and dark. Albrecht uses the implication of blinding light in the
OPPOSITE Alley Grit (above) is an example of painting as a contrast to the dark recesses of shadow in
Here’s Lookin’ this artistic inclination. To create the the titular alleyway. Figures are dwarfed by architecture,
at You, Kid
angles that allow for such contrast, but ultimately nature is bigger than any man-made ediice.
(watercolor on
paper, 26x20) Albrecht uses cut-up credit cards to As the space opens up to light in the center of the composi-
apply, stamp, scrape and push paint tion, details of structure dissolve, and the painter’s marks
around on the surface—making hint at the presence of architecture or mankind. In fact,
strokes that “are far more intriguing people in Albrecht’s paintings often are rendered as
than a regular brushstroke and that silhouttes, alluding to the universality and anonymity
enable me to ind ways to say the of big-city living.

THE ART Meet the Artist
OF KNOWING
Albrecht typically works on multiple Ingrid E. Albrecht (ingridsartoriginals.com),
pieces simultaneously. “he way I of Chicago, Ill., has a bachelor’s of science
work and think, if I were working and a master’s of art from Southern Illinois
University, and a fine arts degree from
on one piece at a time, I’d get bored,” The American Academy of Art. She’s the
she says. Working on multiple pieces owner of Ingrid’s Originals, Inc., where
“cleans the slate and lets me move she teaches ongoing art classes and
on to something else. It keeps my workshops. The artist, who has received
focus clear.” numerous awards and has held several
By working on several pieces simul- solo exhibitions, is a signature member
of the American Watercolor Society and the Watercolor Honor
taneously, Albrecht has plenty of time Society; an associate member of the National Watercolor
to allow paintings to “rest,” afording Society; a life member of the Transparent Watercolor Society
her the opportunity to decide whether of America; and a signature and life member of the Illinois
a painting is complete. When working Watercolor Society. Her work appears in selected collections
on YUPO, in particular, she says, “You around the world, including the U.S. headquarters of the Jane
have to learn to really think before Goodall Institute, in Silver Springs, Md., and that of H.R.H.
Prince Charles, in London.
you spray.” She waits until she’s abso-
lutely convinced that the painting is
inished before spraying the inal
coat. “Knowing when a painting is
complete comes with experience,”
she continues. “hat’s something
that doesn’t happen right out of art
school; I’ve learned that I’m my own
best teacher.”
THE BEAUTY
OF FAILURE
Albrecht’s Zen-like attitude has
allowed her a good deal of creative
freedom to experiment—and to
embrace mistakes in all of her
creative endeavors. his is a message
the longtime teacher shares with her
students. “I tell them that failure will
be their best teacher—that not fail-
ing should be less of a goal than
simply trying to fail better than the
last time around. You’ve got to learn
how to turn lemons into lemonade,”
she continues. “You have to be
Eastern in your thinking. Don’t say
‘Oh, my gosh, I’ve ruined it.’ Instead,
igure out what you can do to work
with what you have.”
Albrecht’s own life as an intrepid
explorer—of cities, countries, cul-
tures and creativity—proves that the
teacher truly is also the master. WA
Maria Seda-Reeder is an arts writer,

independent curator and adjunct
professor of art at the University
of Cincinnati and the Art Academy
of Cincinnati.
Use Your
words
AN ILLUSTRATED TRAVEL
JOURNAL IS A WONDERFUL WAY
TO CAPTURE THE STORY OF
YOUR ADVENTURES IN BOTH
WORDS AND PICTURES.
By Brenda Swenson
t
here’s an excitement to sketching on location
that’s diferent than working from photos in
my studio. I enjoy being surrounded by the
history, culture and sounds of a place. And,
when I take the time to record a scene within
the pages of my sketchbook, something
happens that touches my heart. he moment becomes
a part of me—a memory of a place and time that I’ll
carry all of my days.
By merging both images and words on a page, an
illustrated travel journal allows me to tell an even
bigger story. he pages contain the ups and downs of
travel. I feel free to express myself. And, by commit-
ting to the practice, my illustrated journals allow me
to see tangible growth within the pages.
Whether my travel adventure consists of a short
weekend up the coast or several weeks in a distant
land, I travel to see, to experience and to explore
Vernazza, Italy (8½x11): This page captures a wonderful
memory of the week I spent in Cinque Terre, hiking from one the world—one sketch at a time. My travel journals
village to the next and sketching along the way. I learned that are precious reminders of places I’ve been and my
a terrible flood swept through this village a few months later. experiences along the way.
SKETCHING feel my skills are lacking, when, in fact, I simply didn’t Costa Brava (10x16):
ON THE GO allow myself enough time. This page conjures
tasty memories of
As a workshop instructor, I travel So, my irst step when arriving at a location is to
my time in Catalonia
frequently throughout the United walk around for a few minutes to get a sense of the in northeastern
States, and once a year I take a group place. When I ind a subject that really excites me— Spain where we
of workshop students to Europe. maybe the light or the shadows, or a particularly enjoyed tapas—the
Before I’m scheduled to teach, I like impressive view—I begin to sketch. name for the snacks,
canapés or small
to spend a few days exploring and Most of the time I sketch in ink; I love the look of plates, which
sketching the location on my own. a solid, committed line. When I’m using ink, I tend to originated in Spain.
I love the experience of seeing a place look longer and draw with a greater sense of under-
for the irst time; the feeling of excite- standing. I sometimes use pencil, but a pen drawing
ment is tangible. I’ll sketch anything feels more like a complete thought to me.
that catches my eye: street scenes,
people, open markets, cathedrals,
my lunch at a café, the interior of a
church. I might walk 8 or more miles
in a day and make multiple sketches. “The sketch hunter moves through life as he
I’ve learned that before I start a finds it, not passing negligently the things he
sketch, I need to consider how much
time is available. hat way I can keep loves, but stopping to know them, and to note
my expectations realistic as to what’s
possible to start and inish. If I don’t,
them down in the shorthand of his sketchbook.”
I know that I’ll become frustrated and —ROBERT HENRI

Inspiration Now, Inspiration Later
TOP LEFT
Prague Journal (8½x11): I spent
a week in Prague, the capital
city of the Czech Republic,
before meeting up with artist
friends and traveling on to
Germany. I did 58 sketches
during the three weeks I was in
Prague and Germany.
ABOVE
A photograph of Prague with
the Church of St. Nicholas in
the center.
LEFT
Prague (watercolor on paper,
15x11): My sketchbooks are an
endless source of inspiration.
This is an example of one of
many paintings inspired by
sketches from my journals.
The photos I take during my
travels supply additional
information about lighting
and architectural details.
I’m not against photography, and
I still take photos when I’m traveling.
It’s important to have reference
photos for painting architectural
details, light, shadows and signage.
Also, when I’m working on-site,
I never know when something might
block my view, or whether I’ll be
chased of or rained out. But when
I’m able to make a sketch, I know I’ll
never forget what I saw. he image
will be forever ingrained in my mind.
MAKE A NOTE OF IT
You may not consider yourself a
“writer,” but you don’t have to be a
wordsmith. We all have something to
say, and there are easy ways to jump-
start journaling. Because our senses
are great for awakening a memory,
for example, I’ll often make a note of
a certain smell or sound, or other
sensation. It might be the smell of
bread baking or cut grass, the feel of
the warm sun or a cold wind, the
ABOVE
Oppede, France
(11x10): This sketch is
a montage of
images drawn on a
page to tell a bigger
story. The words
become part of the
design of the page.
RIGHT
Poble Espanyol,
Barcelona (8½x11):
This Spanish Village
Museum featured
architectural
influences of
Barcelona.

Sketch Supplies
SKETCH BAG
• I use a canvas rigger bag.
PALETTE
• A folding palette box with 18 wells works for me.
PAINTS
• I use the following watercolors (Daniel Smith
unless otherwise noted): Hansa yellow medium,
raw sienna (Winsor & Newton), quinacridone gold,
permanent yellow deep, anthraquinoid scarlet,
quinacridone burnt orange, permanent alizarin
crimson, quinacridone rose, burnt sienna (Winsor
& Newton), imperial purple, French ultramarine,
cobalt blue, manganese blue hue, phthalo blue GS,
cobalt teal blue, green gold, phthalo turquoise,
phthalo green (blue shade) and lunar black
BRUSHES
• Da Vinci natural and synthetic rounds, sizes 6 to
14; Da Vinci Series 5080 flats, size 20mm; and
Miller’s 1.5 bold wash
St. Paul de Mausole, Saint-Rémy-de-

Provence, France (watercolor on paper;
11x5): This is a sketch of the mental asylum
where Vincent van Gogh was hospitalized.
SKETCHBOOK
• I like a Stillman & Birn, Beta, stitch-bound, soft
noise of leaf blowers or the sound of church bells ring- cover, in both a 8½x5½-inch size (which opens to
ing. When I re-read my notes, it engages my senses as 8½x11) and a 10x8-inch size (which opens to 10x16).
if I’m right there in the moment. Or, I make my own 11x10-inch sketchbook using
Keep in mind that the words you put down on the Bockingford 140-lb. cold-pressed watercolor paper
sketchbook page can act as both an informative element and/or drawing papers.
and a creative one. I may use them as a design element—
PENS
to tie multiple images together, to balance a page, to
• I like everything from disposable Faber-Castell Pitt
serve as a page heading and even to cover a mistake!
pens to pricey fountain pens, for which I use both
When I’m traveling, I do my sketching and painting
water-soluble and waterproof ink.
during the day, and leave my writing for the evening,
when sketching is less practical. I keep an envelope in MISCELLANEOUS
the back of my sketchbook for ticket stubs and • Collapsible water bottle and bowl; sponge; spray
receipts I collect during the day. I’ve learned that bottle; cotton rag, paper towels rolled up; 2B
these items provide helpful details later, when I sit mechanical pencils; and erasers
down to write.
On a (Sketching) Mission
Of the 21 historic missions in Calfornia, built
between 1769 and 1823, I’ve sketched 17.
One of my favorites is the historic Santa
Barbara Mission, founded in 1786. The white
stucco buildings with red-tile roofs reflect the
Spanish colonial heritage of this small
coastal city. The beautiful facade, a blend of
Roman and mission architectural styles, has
earned it the name, “Queen of the Missions.”
I made the sketch below from a large park
directly across the street from the mission.
Instead of having the building dominate the
sketch, I placed roses high in the foreground,
pushing the building into the distance. I also
wanted the sketch to look softer, to reflect
the beautiful soft light of the day. To get the
effect, I used Pilot Iroshizuku Fuyu-syogun, a
light gray bottled ink.
I sketched Santa Barbara Mission in a

Stillman & Birn 8½x11-inch Beta Series
sketchbook.

Yes, you’ll ind that these two
practices—painting and writing—
Munich Airport (8½x11)
Traveling requires a lot of
sitting in airports—a perfect
Meet the Artist
require diferent parts of the brain. opportunity to sketch people. Artist and
I’m notorious for spelling things workshop
wrong, for instance, but I like to teacher
recall what a friend once said: “Only Brenda
a boring mind can think of only one behavior, my sketches are me when Swenson
way to spell a word.” I’m alone or with a trusted friend— (swensonsart.
net) is the
relaxed, playful and vulnerable. author of
Although it’s not possible to relive Keeping a
CREATE SOMETHING that initial moment of discovery Watercolor
FOR YOURSELF when experiencing a new city or Sketchbook and Steps to Success in
My travel journals are stitch-bound, country for the irst time, I do have Watercolor (Artist’s Library). Her
which makes it impossible to remove an entire bookcase illed with sketch- paintings and sketches have also
been featured in a number of
a page without destroying the book. books and illustrated journals that competition art books, including
Someone once told me it was a shame can stir my memories. I treasure Splash 11, 12, 14 and 19 (North Light
that I couldn’t sell my journal. I was these books. To me they’re priceless. Books), as well as many art
surprised. To this person, the artwork And truly, what’s the purpose of art if magazines. An active participant in
needed to be for sale to be of value. it doesn’t feed the soul of the one the arts community, Swenson has
But my sketchbooks and illustrated who created it? served on the boards of directors
for both National Watercolor
journals are of value to me for so So, give yourself permission to Society and Watercolor West.
many reasons. Whereas my paintings create, even if the creation is some-
are me all dressed up and on my best thing no one else will see. WA
Burning Question
What place is at
the top of your
have-to-paint-
there list?
Michael
Reardon
I was able to spend two weeks
this spring in a painting
paradise at the Villa d’Este.
This 16th-century villa near
Rome is famous for its terraced
Renaissance garden and
dozens of fountains. I’ve long
been fascinated by the
interplay of water, landscape
and architecture, and I knew
this villa would be a gold mine
of potential paintings.
Thomas W
Schaller Anne McCartney
What a great joy and privilege it is There are so many places I’d love to paint,
ILLUSTRATIONS BY BEAST FROM EAST/GETTY IMAGES
to lead a life that allows me to but one that has jumped to the front of the
travel to the far corners of the earth line for me is the Arctic. Because it’s one of
to paint. But in truth, I most often the most rapidly changing places on the
dream of those hidden painting planet, I would love to be able to document
spots deep within my own its unique beauty before it changes beyond
imagination. They’re always just recognition. To be able to capture its vast
around the next corner, just out of landscape and its unusual light would be a
sight, which keeps me looking. true challenge and pleasure.

Tim Saternow
I have to paint what’s right outside my
door. I don’t have to travel far. With such
extraordinary variety and visual
excitement just within the few blocks
from my home in New York City, why
go anywhere else? I deeply appreciate
all the areas of the world that I’ve
visited, but they simply don’t speak to
my heart and free my soul like the noisy,
dirty, amazing streets of New York.
“ Like many painters, I’ve been drawn

repeately to Piazza San Marco in Venice.
No matter how many times I go, I find new
Susan
Weintraub
”
inspiration to paint. —Paul Jackson
There are many places
I want to paint, but the
one place I have to paint
is my Brooklyn, N.Y.,
neighborhood of
Brighton Beach. I’ve
lived here all my life,
and the more I paint
this vibrant seaside
community, the more
I understand who I am
and the more I feel
connected to my past.
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Robbie Laird WATERCOLOR WORKSHOPS
Jan Sitts
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6/8-6/11/18, San Clemente. San Clemente Art Supply. MASSACHUSETTS
www.cincinnatiartclub.com tab ViewPoint. Enter through
café www.callforentry.org/login.php, ViewPoint 50. Contact: Heather, 949/369-6603 Birgit O’Connor
Questions: viewpoint@cincinnatiartclub.com 6/11-6/15/18, Glochester.
COLORADO Contact: Northeast Art Workshops, 978/729-4970
DEADLINE: JULY 24, 2018 Robbie Laird northeastartworkshops.com
North East Watercolor Society 42nd International Juried 11/6-11/8/18, Colorado Watercolor Society.
Contact: Terrey Herrod, teamterrey@yahoo.com MICHIGAN
Exhibition at Kent, CT: October 14-28, 2018. $10,000 in
Awards, Joel Popadics, AWS, Juror of Awards. $30/1 entry Stephen Quiller Tony Couch, AWS
or $40/2 entries, Entries by CD or E-mail. For prospectus, 8/16-8/26/18, Creede. 7/30-8/2/18, Petoskey.
visit www.northeastws.com. Email request to Intensive Color and Watermedia Workshop. Quiller Gallery. Contact: 678/513-6676, toncouch@mindspring.com
info@northeastws.com or SASE to NEWS, 866 Cadosia Rd., Contact: Marta Quiller, 719/658-2741 Chris Unwin
Hancock, NY 13783, 607/637-3412. info@quillergallery.com Watercolor Workshop Weekly on Wednesdays.
9/23-9/29/18, Creede. West Bloomfield, MI 48322
DEADLINE: AUGUST 4, 2018 Plein Air Watermedia Workshop. 4 UR Ranch. Contact: Chris Unwin, 248/624-4902
South Carolina Watermedia Society 41st Annual National Contact: Robin Christensen, 719/658-2202 ChrisUnwin@att.net or www.ChrisUnwin.net
Exhibition, October 6 - November 26, 2018 at City Art, robin@4urranch.com or www.4urranch.com Eric Wiegardt, AWS-DF, NWS
Columbia, SC. $5,000 total cash awards. Juror/Workshop: Jan Sitts 6/25-6/28/18, Saginaw.
Laurie Goldstein-Warren. Workshop: September 18-20. June or July 2019, Gunnison Art Center. Dates TBA. Wiegardt’s Painterly Acrylics.
Prospectus: scwatermedia.com Contact: Saginaw Area Watermedia Artists
FLORIDA v.artspirit@icloud.com
DEADLINE: AUGUST 18, 2018
Tom Lynch
Northwest Watercolor Society’s 26th Annual Membership NEVADA
1/7-1/10/19, Boynton Beach.
Exhibition. Dates: October 23 - November 16, 2018 Seattle
3/5-3/8/19, Punta Gorda. Tom Lynch
area. Awards up to $5,000 – 1st $1,000, 2nd $750, 3rd $500. Contact: 630/851-2652 8/13-8/19/19, Reno.
Juror/Instructor Linda Baker. Digital entry/prospectus Tomlynch@msn.com or www.TomLynch.com Contact: 630/851-2652
available May 14, 2018 at www.nwws.org
Jan Sitts Tomlynch@msn.com or www.TomLynch.com
2/18-2/21/19, Punta Gorda. NEW YORK
Vladislav Yeliseyev AIS, NWS
WORKSHOPS 12/8-12/10/18, Sarasota. Florida Landscape,
Hudson River Valley Art Workshops
6/24-6/30/18, Elizabeth St Hilaire.
Plein Air Workshop.
ALABAMA 7/1-7/7/18, Brenda Swenson.
1/26-1/28/19, Sarasota. 3-day Plein Air Workshop.
7/8-7/14/18, Kathyanne White.
Huntsville Museum of Art February 2019, Naples. 3-day Plein Air Workshop.
7/15-7/21/18, Fabio Cembranelli.
8/16-8/18/18, Huntsville. Keith Andry, March 2019, Sarasota. 3-day Plein Air Workshop
7/22-7/28/18, David Dunlop.
Strong Design & Bold Strokes in Watercolor. Contact: Marina, 941/330-6865
7/28-8/1/18, Patti Mollica.
10/18-10/21/18, Huntsville. David Shevlino, school@yeliseyev.com or www.yeliseyevfineart.com
8/1-8/5/18, Howard Rose.
Alla Prima Clothed Figure & Portrait Painting. 12/14/18, 1/7/19, 3/27/19, Bradenton. Keeton’s Art Supply.
8/5-8/11/18, Mel Stabin.
11/9-11/11/18, Huntsville. Lian Quan Zhen, Watercolor Painting: One day Watercolor workshops.
Contact: 941/747-2995 9/2-9/8/18, Self-Directed Retreat.
Let the Colors Paint Themselves. 9/9-9/15/18, Lorenzo Chavez.
11/15-11/17/18, Huntsville. Perry Austin, GEORGIA 9/16-9/22/18, Judi Betts.
Painting the Landscape in Oil. Art In The Mountains 9/23-9/29/18, Henry Yan.
Contact: Laura E. Smith, Director of Education/Museum 6/11-6/15/18 and 6/18-6/22/18, Savannah. Charles Reid, 9/30-10/6/18, Skip Lawrence.
Academy, 256/535-4350 x222 Drawing and Painting with Charles Reid. 3/17-3/23/19, Kellee Wynne Conrad.
lsmith@hsvmuseum.org or hsvmuseum.org Watercolor - studio. Intermediate to advance painters. 3/27-3/31/19, Patti Mollica.
Contact: Tracy Culbertson, 503/930-4572 3/31-4/6/19, Alain Picard.
ARIZONA 4/10-4/14/19, Alvaro Castagnet.
info@artinthemountains.com or
Jan Sitts www.artinthemountains.com 4/14-4/18/19, Howard Rose.
AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL 5/5-5/11/19, Koo Schadler.
POST PROPOSED DATES FOR UPCOMING CLASSES. HAWAII 5/15-5/19/19, Barbara Nechis.
11/5-11/7/18, Sedona. Sedona Arts Center. Stephen Quiller 5/19-5/25/19, Robert Burridge.
5/6-5/8/19 and 11/4-11/6/19, Sedona. Sedona Art Center. 4/8-4/12/19, Hawaii Watercolor Society. Contact: 888/665-0044
Contact: Debbie, 928/282-3809 Contact: Anita Bruce, anitab@hawaii.rr.com info@artworkshops.com or www.artworkshops.com
artist’s marketplace
NORTH CAROLINA OREGON VERMONT
John C. Campbell Folk School Art In The Mountains Tom Lynch
6/10-6/16/18, Kathy Chastain, 7/23-7/27/18 and 7/30-8/3/18, Bend. Herman Pekel, 7/24-7/25/18, Burlington.
Watercolor for the True Beginner. $630. Be Brave and Have Fun. Watercolor- studio and plein air. Contact: 630/851-2652
6/24-6/30/18, Carolyn Molder, All levels welcome. Tomlynch@msn.com or www.TomLynch.com
Summer Flowers in Pastel. $630. 8/6-8/10/18, Bend. Fabio Cembranelli, Intuitive Painting, Eric Wiegardt, AWS-DF, NWS
7/6-7/8/18, Teri Jones, Listen, Look, & Learn – Transcending the Subject. Watercolor - studio.
10/15-10/18/18, Landgrove.
An Innovative Approach to Watercolor. $354. Intermediate to advanced.
Wiegardt’s Painterly Watercolors.
7/15-7/21/18, Suzanne DesLauriers, Mountain Fantasy in 8/13-8/17/18, Bend. David Lobenberg, California Vibe.
Contact: vtinn@sover.net or
Watercolor (Intergenerational). $630. Studio - watercolor. All levels welcome.
artworkshopsatthelandgroveinn.com
7/22-7/27/18, Jane Voorhees, Small- scale 8/20-8/24/18, Bend. Lian Quan Zhen, East Meets West.
Watercolor for Beginners. $564. Watercolor - studio. All levels welcome. Vladislav Yeliseyev AIS, NWS
7/27-7/29/18, June Rollins, Come Test the Waters. $354. 8/27-8/31/18, Bend. Ward Jene Stroud, Brusho and Beyond. 8/27-8/30/18, Landgrove Inn.
8/17-8/19/18, Kathy Chastain, Beginning Illustrated Watercolor - studio. All levels welcome. Contact: 800/669-8466, vtinn@sover.net
Journaling. $354. Contact: Tracy Culbertson, 503/930-4572 August 2018, Burlington. Vermont Watercolor Society
8/26-9/1/18, Betty Brown, Intermediate Watercolor. $630. info@artinthemountains.com or 2 day Workshop.
Contact: John C. Campbell Folk School www.artinthemountains.com Contact: Julie Holmes, juliefurq@yahoo.com
Brasstown, NC 800-FOLK-SCH or www.folkschool.org Robbie Laird WASHINGTON
Kanuga 10/8-10/12/18, Salem. Watercolor Society of Oregon.
Tony Couch, AWS
3/30-4/5/19, Hendersonville. Keiko Tanabe, Jonathan Talbot, Contact: Beth Verheyden, vstudios@comcast.net
8/27-8/30/18, Anacortes.
Iain Stewart, Michael Pearson, Aline Ordman, Judy Morris,
Mark Mehaffey, Stephanie Goldman, Ken Goldman, Joan
RHODE ISLAND Contact: 678/513-6676, toncouch@mindspring.com
Fullerton, Amy D’Apice and Drew Bandish. Vladislav Yeliseyev AIS, NWS Tom Lynch
Contact: Chris & Barbara Hutchison 9/12-9/14/18, Pawtucket. Rhode Island Watercolor Society 9/25-9/28/18, Clarkston.
kanugaww@gmail.com or 3 day Workshop. Contact: 630/851-2652
www.KanugaWatermediaWorkshops.com Contact: 401/726-1876, www.riws.org Tomlynch@msn.com or www.TomLynch.com
Tom Lynch TENNESSEE Birgit O’Connor
11/8-11/10/18, Raleigh. Tom Lynch 10/16-10/19/18, Spokane.
Contact: 630/851-2652 6/5-6/8/18, Cookeville. SSW Spokane Watercolor Society.
Tomlynch@msn.com or www.TomLynch.com Contact: 630/851-2652 Contact: Carol Grabowski
Vladislav Yeliseyev AIS, NWS Tomlynch@msn.com or www.TomLynch.com carol_grabowski@comcast.net
7/29-7/30/18, Cashier. 2 day Watercolor Plein Air Workshop. Jan Sitts
Contact: Marina, 941/330-6865, school@yeliseyev.com TEXAS 9/6-9/9/18, Coupeville.
Tony Couch, AWS Contact: Lisa, 360/678-7420
OHIO 10/9-10/11/18, Dallas. Pacific NorthWest Art School.
Tony Couch, AWS Contact: 678/513-6676, toncouch@mindspring.com
Eric Wiegardt, AWS-DF, NWS
7/9-7/12/18, Oxford. Tom Lynch 7/9-7/13/18, Long Beach Peninsula.
Contact: 678/513-6676, toncouch@mindspring.com 9/6-9/9/18, New Braunfels. Watercolor Plein Air Workshop.
Robbie Laird 9/9-9/13/19, Stephenville. Contact: Wiegardt Studio Gallery, 360/665-5976
8/28-8/31/18, Pepper Pike. Ohio Watercolor Society. Contact: 630/851-2652 watercolors@ericwiegardt.com
Contact: Michael McEnroe, mcenroem@aol.com Tomlynch@msn.com or www.TomLynch.com
Tom Lynch Jan Sitts WEST VIRGINIA
10/17-10/20/18, Beavercreek. 10/1-10/4/18, Granbury. Lake Granbury Art Association. Jaimie Cordero
Contact: 630/851-2652 Contact: Diana, 817/326-5629 or 817/578-1842 For questions regarding workshop contents, contact
Tomlynch@msn.com or www.TomLynch.com March or April 2019, Studio Art House. Dates TBA. Jaimie at 786/303-5293 or WDJaimieC@aol.com
The Art of Creative Watercolor:

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By Danielle Donaldson
Between the covers of this book, discover the

whimsical world of Danielle Donaldson. Follow
exercises and start-to-finish projects in a watercolor
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imaginative techniques, fresh takes on color theory,
perspective, composition and more!
Learn to let go and dive into the details that tell

your visual stories. Most importantly, learn to
appreciate the unpredictable nature of watercolors
and the unplanned beauty it offers you in your
creative process.
$24.99 · R4573 · 9781440350948 · Paperback
Also available as an eBook
Available at your favorite bookseller. To learn more about the full range
of Artists Network products, including North Light books, visit ArtistsNetwork.com.

WISCONSIN
Robert Burridge Workshop DVDs
6/10-6/16/18, Lac du Flambeau. Loosen Up with Aquamedia Complete 4 Day
Painting. Dillman’s Arts Workshop Retreat.
Contact: 715/588-3143, vacations@dillmans.com or Watercolor Worshops
www.dillmans.com/dcaf/future.html
Tony Couch, AWS
9/17-9/21/18, Lac du Flambeau.
10/22-10/26/18, La Crosse.
Contact: 678/513-6676, toncouch@mindspring.com
INTERNATIONAL
AUSTRALIA
Art In The Mountains
1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New
Caledonia and Gold Coast Australia Cruise/workshop.
Contact: Tracy Culbertson, 503/930-4572
www.artinthemountains.com
CANADA
Robert Burridge
6/25-6/29/18, Oakville, Ontario.
Larger & Looser! Oakville Art Society.
6/30/18, Oakville, Ontario. Art Marketing for the Busy Artist.
Oakville Art Society.
Contact: Mary Driussi, oasclasses@hotmail.com or
www.oakvilleartsociety.com/workshops.html
Tom Lynch
7/13-7/16/18, Conception Bay.
7/18-7/21/18, Conception Bay.
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com A Good Fortune
Alexis Lavine, NWS
COSTA RICA
Robbie Laird See Alexis Lavine’s Video Clips
3/31-4/6/19, Capturing Costa Rica In Color. and Video Clips of these artists
Contact: Franco Marini, Franco@globalj.org Chris Unwin, NWS
CROATIA Nita Engle, AWS
Vladislav Yeliseyev AIS, NWS Soon Warren, AWS, NWS
6/9-6/16/19, Painting Vacation in Croatia. Artists dream Bev Jozwiak, AWS, NWS
vacation! Majestic scenes of courtyards, quaint villages, old
stone buildings, olives on the trees, and small fishing boats -
just a few subjects to name.
WWW. ChrisUnwin.NET
Contact: Marina, 941/330-6865
contact@yeliseyev.com or www.yeliseyevfineart.com
EUROPE RQOLQH QRZ
Art In The Mountains
10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to
New Orleans. Painting days are ‘at sea’ days only. 6LQFH
Contact: Tracy Culbertson, 503/930-4572 ³3UHPLHU 'HVWLQDWLRQ :RUNVKRSV´
&KDUOHV 5HLG
6DYDQQDK *$
www.artinthemountains.com
Tomlynch@msn.com 630-851-2652
FRANCE www.tomlynch.com
Art In The Mountains /LDQ=KHQ +HUPDQ 3HNHO
6/10-6/14/19, Paris. Herman Pekel, watercolor- plein air - %HQG 25 2018-19 WORKSHOPS
intermediate to advanced.
Contact: Tracy Culbertson, 503/930-4572 %HQG25 %HQG 25 June 5 – 8 Cookeville, TN
info@artinthemountains.com or :DUG 6WURXG 3DULV )UDQFH July 13 – 16 Conception Bay, Canada
'DYLG /REHQEHUJ
www.artinthemountains.com July 18 – 21 Conception Bay, Canada
GERMANY
%HQG 25 %HQG 25 July 24 – 25 Burlington, VT
Eric Wiegardt, AWS-DF, NWS September 6 – 9 New Braunfels, TX
9/15-9/29/18, Lake Constance, Friedrichshafen. )DELR &HPEUDQHOOL September 25 – 28 Clarkston, WA
Plein Air Workshop. %HQG 25 October 17 – 20 Beavercreek, OH
0DXL +,
Contact: Wiegardt Studio Gallery, 360/665-5976
watercolors@ericwiegardt.com November 8 – 10 Raleigh, NC
ITALY 0DU\ :K\WH January 7 – 10 Boynton Beach, FL
Vladislav Yeliseyev AIS, NWS ,QGLDQDSROLV ,1 February 9 – 16 Puerto Vallarta, Mexico
6/21-7/5/18, Painting Trip – “Impressions of Umbria” - Two *UHHQYLOOH 6& March 5 – 8 Punta Gorda, FL
.DUO\Q $OYDUR &DVWDJQHW
weeks, La Romita School of Art! Join Vladislav Yeliseyev
for painting workshop in a beautifully restored Capuchin August 13 – 19 Reno, NV
monastery from the 16th century surrounded by olive groves in +ROPDQ 6DQ $QWRQLR 7; September 9 – 13 Stephenville, TX
7ZR
the foothills of the Apennines Mountains.
Contact: Tracy, 202/337-3120, washington@laromita.org or ,DLQ 6WHZDUW Available For Workshops In Your Area
www.laromita.org/workshops-italy-2018/vyeliseyev 3DLQWLQJ %HQG 25
MEXICO :RUNVKRS &KLQPD\D 3DQGD
Tom Lynch &UXLVHV %HQG 25
2/9-2/16/19, Puerto Vallarta.
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Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com $XVWUDOLD 0LFKDHO 5HDUGRQ
SPAIN
%HQG 25
Vladislav Yeliseyev AIS, NWS 'DYLG 7D\ORU
5/27-6/3/19, Painting vacation in Spain. Don’t Be a Tourist. Be 6DQWD %DUEDUD &$ Visit www.ArtAcademyLive.com
our Guest! Join me for 8 unforgettable days in Barcelona and
Costa Brava. Your Online Source For
Contact: French Escapade, 510/483-5713
contact@frenchescapade.com or www.frenchescapade.com
ZZZDUWLQWKHPRXQWDLQVFRP Art Instruction 24/7
Open Book
Ready to Revisit
Years ago, Cathy Johnson’s favorite sketching
tools were a dark-hued colored pencil and a
watercolor wash of black, warm dark gray, even
indigo or black raspberry. “Somehow, once I fell in
love with the varied lines of a fountain pen, I drifted
away from these,” she says. “But recently, the urge hit
me to revisit these ‘old friends.’ I found an indigo pencil
[an old Prismacolor] in my kit, and a glorious, shady
bench by the river. The tree was old and gnarled,
and autumn’s hues were just coming in, providing
a colorful backdrop for my sketch.”
YOUR TURN!
Reach for a tool you haven’t used in awhile and share the
results. @ArtistsNetwork on Instagram: #everywatercolor
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THE WORLD IS YOUR STUDIO (BRING A SKETCHBOOK!

The Best Tips

A PAINTING PLAYDATE 25th

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Stephen Harby made

Q Tell us about your traveling life.

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2. Learn to paint with a limited color palette

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“I did this monochrome sketch at the Pyramids

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textured surfaces. He also has a spray

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John A. Parks (johnaparks.com) is a painter, a writer and a