splash 14 - the best of watercolor : light & color

Best of Watercolor

Splash 14

Light & Color

edited by Rachel Rubin Wolf

CONTENTS

Introduction

1. Fresh Flowers

2. Colorful Destinations

3. The Still Life

4. Water and Boats

5. Not So Wild Life

6. Our Designs and Devices

7. Landscape View

8. People in Motion and Emotion

Contributors

About the Editor

Acknowledgments

Copyright

Morning Cyclist | Fealing Lin

15” × 21” (38cm × 53cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed paper

Low Sun Provides UnifiedSilhouetted ShapesAlthough portraits are my favorite subjects for watercolor, I also love theenergy I get from painting landscapes. For portraits, I take a Zen approach,glazing layer after layer of transparent washes; for city and landscape, I relyon a very limited number of brushstrokes to tell the story. Between the twosubjects and techniques, I’ve discovered a necessary balance in my paintinglife. Working from a photo, I simplified the silhouetted shapes and took theopportunity to play with color inside those shapes.

Introduction

There are no two words that describe watercolor like light and color. In factthese two art elements are watercolor’s essence. The breathtaking joy thatprompts many watercolor painters to paint is awakened in a moment ofwonder—a glimpse of backlit hair, rays streaming through a window, a darkpurple shadow against a golden tree.

Jan Archuleta’s moment happened when she saw echinacea “glowing inthe sunlight and the upper petals cast dramatic shadows on the lowerpetals.” Kim Johnson saw a man whose “sunglasses and hat left him nearlyentirely in shadow, but I loved how the strong cast shadows sharply definedhis face and shoulder.”

For Dave Maxwell, “An ancient English motorcar with chrome surfacesreflects midday sunlight from a surrounding enclosure of buildings, providingshapes for whimsical abstract designs.” Preparing for breakfast, Frank Spinowas captivated by color while watching his wife squeeze “oranges over theribbed dome of the juicer when one of those longed-for lightning bolts ofinspiration struck.”

In northwest China, “the combination of warm and cool creates a rich,luminous feeling of rays” for Wen-Cong Wang, while Fealing Lin creates “asaturated peachy light” to make her viewer feel the relaxation and warmthshe experienced. Jimmy Tablante was inspired by the “deep emotive colorscombined with the strong contrast” he saw while walking near a park inHonolulu.

There is nothing that so inspires us as the light and color all around us. Ihope that the wonderful artworks collected here will stir you to take note ofyour own inspirations, whether in an exotic place or in your own kitchenbefore breakfast.

—Rachel Rubin Wolf

1

Fresh Flowers

Tulips | Keiko Yasuoka

10” × 15” (25cm × 38cm)


I waited for the early afternoon sunlight to bathe the tulips through thekitchen window. The highlight in the flowers is the pure white of the paper.Many layered washes were applied to create the soft and transparent colorsin the petals.

Abundance | Kathleen Alexander

27” × 39” (69cm × 99cm)

Transparent watercolor on 300-lb. (640gsm) cold-pressed Fabriano Artisticopaper

Reflect Your FeelingsI painted Abundance at a time when my husband and I had decided tomake changes that allowed me to paint full time. I was expressing thesense of abundance I was feeling in my life. I took the reference photo forthis painting in the Napa Valley. Abundance brings to mind the hotsummer sun, the smell of ripening grapes and rich soil: the moment in timethat I’m trying to share with the viewer. The high contrast between thegrapes in the light and those in cool shadow makes this painting shine.

Yellow Hibiscus | Kathleen Alexander

21½” × 29½” (55cm × 75cm)

Transparent watercolor on 300-lb. (640gsm) cold-pressed Fabriano Artisticopaper

Three Photos Equals OneCompositionYellow Hibiscus began with three separate photos. I used AdobePhotoshop to piece together and resize each of the three floral elements inthe composition. I established the shadows and veins in the petals first,using Cobalt Blue and Winsor Violet, then glazed over the petals usingAureolin, New Gamboge, Quinacridone Gold, Pyrrole Orange and NaphtholRed. By dropping in clear water, I took advantage of blooms to addhighlights and more veining texture to the petals. I used Indigo in thebackground and carried it into the veins of the leaves. The contrast between

overlapping petals and backlighting against the complementary Indigobackground creates drama and radiance.

Spring Preview | Michelle Goll Smith

18” × 24” (46cm × 61cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed Arches

Paint What You Are Drawn ToEvery February the saucer magnolia trees come into bloom. I think of it as apreview of the upcoming spring season. My neighbor has one of thesebeautiful trees, which I have admired for years, hoping to paint one of thoselarge, pretty blooms one day. Finally, I knocked on her door and she gladlycut a few of them for me. I placed one in a small crystal vase near a sunnywindow and loved how the petals lit up and the crystal cast colorful prisms.I made the background simple and quite dark so the magnolia would standout and layered several transparent glazes for the rich color of the petals.

Glimpse | Jeanne R. Johnson

21¾” × 14 3⁄8” (55cm × 37cm)


Photograph the Perfect MomentI walked through a shaded garden in Florida and came across this brilliantred flower wedged in a cool dark rocky cleft. The sun was just going downand the last narrow beam of sunshine spotlighted the foliage before theclouds shifted and pushed the image into darkness. I photographed themoment. I wanted to capture the contrast of light against dark, hard edgesversus the soft edges, and the brilliant colors in the flower and leaves. Iused a wet-into-wet technique, relying on sponges to get the texture of therock and then back painting into these marks. I mix my blacks to keep themwarm and vibrant.

Sometimes a good painting is simply the result of being prepared to catch a unique moment intime.

—Jeanne R. Johnson

Greenwich Park Rhodies | Jaimie Cordero

11” × 15” (28cm × 38cm)


Stretch Your Paper for WetTechniquesDuring a brief and exceptionally sunny visit to Greenwich, England, I roseeach morning at sunrise to walk to Greenwich Park. I was treated todazzling glimpses of flower markets, sunlit trails and sun-splashed gardensthat inspired a series of paintings. I take hundreds of photos on each outing.My paintings have a brushless look, which I achieve by pouring paint on oroff my paper. Since my paper gets soaked, I first stretch it and tack it to aGator board using heavy-duty staples. This ensures that my paper returns to

a completely flat position after each layer of color dries.

If you want to guarantee fresh, transparent, clean results every time, stick with pigments thatare truly transparent.

—Jaimie Cordero

After Shower | Ran Mu

16” × 22” (41cm × 56cm)

Watercolor on Arches

Express Beautiful Detail With YourBrushI always enjoy creating art works using plump-shaped and complex objectsas my models. Painting these sumptuous objects is like re-creating abeautiful life. I add plenty of water drops on the flower to keep it fresh andlively; I do not use masking. The background is done with a wet-into-wettechnique for a deep but simple balance to the painting.

Butterflies Are Free | Nancy Baay

20” × 30” (51cm × 76cm)

Watercolor and collage on 140-lb. (300gsm) cold-pressed Arches

Play With Tissue PaperButterflies Are Free began as an abstract underpainting with an overallsplash of color on wet paper. The butterflies appeared quite by accident andbegan to inform the flower shapes and negative space around them. Iwanted the composition to have motion and harmony, so I used thejuxtaposition of complementary colors. Tissue paper collage has given me anew “toy” to play with for adding texture to transparent watercolor.Whether I make my own multicolored sheets or use plain white (as in thebutterflies’ wings) I always have a variety from which to tear, cut, crinkleand glue!

Beauty Beheld | Marie Lamothe

23” × 19” (58cm × 48cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed cotton rag

Don’t Overlook the Markings of TimeThe velvety roses were in honor of our wedding anniversary. For severaldays smooth perfection graced our lives. However, in the end, the markingsof time were most evocative to my artistic soul: the poetic nod toinevitability, the subtle but beautiful discolorations, and the lacy, shrivelededges set ablaze by the low autumnal sun. The dark, luscious backgroundechoes the color of the petals and, along with the green of the stems andglass, created a limited palette and provided a strong foil for the painting’sfocal point: the glorious light.

The artist gazes upon a reality and creates his own impression. The viewer gazes upon theimpression and creates his own reality.

—Robert Brault

Encore | Mary Backer

29” × 41” (74cm × 104cm)

Transparent watercolor on 300-lb. (640gsm) rough Arches

Try “Wet Blending”The blossoms of this cactus are basically white. White has so much color init; in this instance I saw creams, pinks, violets and a warm gray. I use atechnique I call “wet blending.” I add water and/or color as I paint on drypaper. This allows the colors to blend in a more controlled version ofworking wet-into-wet. The forms and color intensity are developed slowlywith multiple layers of pigment. This cactus was growing wild in a coastalfield in Santa Barbara, California, struggling to survive in a harshenvironment. This is an area that is fast disappearing to development, and Iwanted to capture the hope that beauty will survive.

Healing Echinacea | Jan Archuleta

20” × 14” (51cm × 36cm)


Grab Your InspirationI was biking along the Yampa River in the mountain town of SteamboatSprings, Colorado, and noticed a back entrance to the Botanical Gardens. Iwalked through the gardens, and I was inspired to do a painting of theechinacea the moment I saw them. They were glowing in the sunlight, andthe upper petals cast dramatic shadows on the lower petals. I gently

touched the flowers and understood how delicate the petals were incontrast to the firm centers. I took several photos from different angles as Istudied the flowers. I painted Healing Echinacea in my home studio usinga limited palette of Quinacridone Rose, Ultramarine Blue and a littleAureolin Yellow.

Mr. Daly’s Roses | Donna Lesley

20” × 26” (51cm × 66cm)


Experiment With Different LightingConditionsMr. Daly’s Roses was quite a departure for me. I had always looked forbright sunlight and well-defined shadows in my reference photos. Here Ihave attempted to capture the almost other-worldly luminosity of roses inthe diffused light of an overcast day. To enhance this effect, I deliberatelydarkened the background. I also tried to employ strong contrasts in order toheighten the elements of the painting—hard edges against soft edges,warm against cool, and light against dark. Because of the challenges of theunusual light, this painting was great fun to do. I will be experimenting with

different kinds of lighting conditions again in the future.

Parrot Tulip With Blue | Alfred Ng

20” × 20” (51cm × 51cm)

Transparent watercolor on 140-lb. (300gsm) rough paper

Minimize Layers to PreserveTranslucencyI was captivated by the dramatic form and flamboyant colors of this tulip.The twisted, curled and feathered petals had many inspirational abstractelements. I started with a simple outline drawing, then wet each petal areawith clean water. Using a wet-into-wet technique, I dropped intense colorand allowed the colors to fuse together. Using a combination of wet-on-dryand dry-brush techniques, I worked on the details of the flower. In order to

preserve the brilliant and translucent quality of the colors, I kept the layersof washes to a minimum, paying special attention to the lights andhighlights in order to bring out the three-dimensional form of the flower. Forthe abstract background, I used a muted greenish gray with some bluetones and ochre to suggest a light source and to add dramatic support tothis colorful tulip.

2

Colorful Destinations

Fishmarket, Venice | Kristina Jurick

14” × 21” (36cm × 53cm)

Watercolor on 140-lb. (300gsm) grain fin Arches

For one glorious week, I painted in Venice with four artist friends. We roseearly to catch the fantastic morning light streaming through the red plasticcurtains of the fish market. It was not easy to find a small corner to set upan easel in the hustle-bustle. The color splashes on the wall told me otherartists had been there before. Tourists still asleep, a radio playing and onehappy salesman singing along to opera on the radio. What an inspiringatmosphere to paint!

Wicked | Don Gore

12” × 12” (30cm × 30cm)


Don’t Overlook Simple SnapshotsFrom LifeThis particular composition caught my eye while on vacation in New York.Out of the much larger overall view of the photograph, my subject wascropped down to the scene in this painting. I was drawn to the darkshadows of the foreground against the sunlight across the street, which

provided the basis for the piece. The combination of color, stark white of thepaper and the very dark foreground resulted in a painting that, for me,portrays the energy and everyday life of this amazing city.

42nd Street Pizza, New York | Charlotte Knox

40” × 16” (102cm × 41cm)


Notice the Light and Color YouHurry ByFor this painting I worked from photographs taken on my way to and from aSunday brunch. The light wasn’t quite right on the way there, but when Icame back it was perfect. I especially wanted to capture the intriguing

shadows cast by the fire escape, so quintessentially New York. Beforestarting on the watercolor I spent some time using Photoshop to crop andrearrange the elements so as to bring them to life and create a compositionreflecting what originally excited me—the light and color we normally hurrypast without fully taking in.

The Mall | John Salminen

29½” × 35” (75cm × 89cm)


Creating the Effect of Filtered LightI recently visited New York just after a winter snowstorm and found thetrees coated with snow. As the sun came out, the light filtering through thebranches caught my attention. My challenge was to re-create the effect offiltered sunlight enhanced by the frost and snow. To accomplish this, Isaturated the negative shapes (the spaces between the branches) withcolor and used the figures in the foreground to give scale. The neutral colorsof their clothing provide contrast for the warm light illuminating the scene.

Market Street | John Salminen

35” × 35” (89cm × 89cm)


Create New Light Conditions if YourPhoto is FlatI painted Market Street from a photo I took when I was in San Francisco,one of my favorite cities. The light in my photo reference was flat anduninteresting due to the midday haze in the air. While the photo recordedthe detail I needed, it lacked drama. I made a decision to change the light

quality and invented a moody, evocative rainy-day scene. I added the figureto give the painting a focal point and to enhance the mood.

Concrete Factory – Vancouver | Thomas W. Schaller

30” × 22” (76cm × 56cm)

Transparent watercolor on 140-lb. (300gsm) rough Saunders paper

Industrial Landscapes Offer RichLights and DarksI attempt to exploit the full range of watercolor’s potential within a singlework whenever possible: using everything from very wet-into-wettechniques, to near-opaque dry brush. This subject perfectly represents my

current interest in abstract value composition within a representationalformat. Surprising and inspirational areas of bright lights and rich darks areoften found in such industrial landscapes. I am fascinated by both theshapes of the built environment and the stories that those environmentshave to tell. Factories and industrial scenes hold rich and countless storiesof all those who plan and work in them.

Shadows of the Tuscan Sun | Judy Nakari

21” × 21” (53cm × 53cm)

Transparent watercolor on 300-lb. (640gsm) cold-pressed Aches

A Variety of Yellows Portrays aSunny DayI led plein air painting workshops in Tuscany, near the village of Lucca from2003 through 2007. This painting portrays a vacation feeling, in this case,the Cinque Terra. Working from my photograph, the bright yellow umbrellaswith their colorful shadows leave no doubt that this portrays a sunny day in

Italy! The umbrellas are pure pigments of Aureolin Yellow, Cadmium Yellowand Quinacridone Yellow, applied wet and allowed to blend together. Tofurther emphasize the warmth of the day, I outlined some shadows withyellow.

Pantheon | Jennifer Annesley

21” × 14” (53cm × 36cm)


Let Ancient Landmarks Inspire YouRome’s Pantheon figured large in my art history studies, but the scale andbeauty were larger than I had imagined when I found myself right there.The portico columns are so massive, one feels as if one is standing in amonumental ancient forest. The lyrical play of light on the polished marbleand worn cobblestones of the Piazza della Rotonda balances the heaviness

of the columns, while the complementary colors of the midnight blue ofevening and the burnt orange facades create counterpoint and vibrancy.Contrast is key in creating light: the dominant dark shadows create theillusion of the lamps actually emitting light.

Teatro | Jennifer Annesley

14” × 21” (36cm × 53cm)


Complements Can Give Relief for theEyeWhile in Rome, each evening we walked by this wonderful facade thatreminded me of a vintage theater. Its graceful iron awning and elaboratelamps were a welcoming beacon. I photographed this entrance every nightfor a week. Back home in my studio, I referenced several of my photographsto compose this piece. Painting light in watercolor requires much planningand discipline. The challenge is leaving the paper blank where the lights andspecular highlights are to conserve the brightest white possible. The coolertemperature of light is created with Paris blue in the halo around the twolights in the awning. The use of blue gives relief and a counterpoint to theoverall warm gold tone.

Minerva – G.C.T. | Michiyo Fukushima

19¼” × 28” (49cm × 71cm)

Transparent watercolor on 140-lb. (300gsm) hot-pressed paper

Understand Your Light SourcesUsing my photo reference, the form is created and defined little by little bybuilding values with multiple wash layers. It is essential to demonstrateunderstanding of the location and number of light sources, especially withnight scenes where artificial light varies in strength and color. Maintainingthree-dimensional form and consistent lighting is challenging, but focusingon value helps the process. Where light exists, shadow exists. There is a fullspectrum of color in light. Beauty is found in any situation where light andshadow create colorful harmony.

Night in Dresden | Fealing Lin

15” × 21” (38cm × 53cm)


A Cold Night Scene Warms HeartsDresden was totally destroyed by the bombing during World War II. I wasoverwhelmed by this completely reconstructed city in Germany. The scaleand beauty of the architecture took my breath away as I wandered in thestreets on many nights. I did this painting as a demo for an art associationon a very cold winter night, after getting lost for an hour in the dark on myway to the location. How fun to paint one of my favorite teaching subjects—a night scene—on that night. The small round street lamps were liftedshapes. The lampposts and light lines in the street were scraped by a creditcard.

Across the Street From Grand Central, NYC | Dorrie Rifkin

16” × 20” (41cm × 51cm)

Transparent watercolor on Strathmore Wet Media Board

Colorful Stories of a NYC StreetI paint on a board that can take a beating. In this painting I wanted thepeople, graphics and cars to tell the story, so I painted them first. Since itwas winter I knew cool blues and purples were the way to go. I was aboutto paint the buildings a dark blue … but a little voice in my head said,“Dorrie, don’t do that. Stop.” I left the painting for a few days. When I cameback, I used bright, intense warm colors to help invite the viewer to lookaround and stay awhile. I thanked the little voice. Millions of people havewalked down this street. Boy, if it could talk, what stories it could tell!That’s why I love painting New York scenes. It always sparks aconversation.

City of Light, Paris | Frank Eber

15” × 11” (38cm × 28cm)


Cool Paris Light Unlike South ofFranceWhat I love about Paris is the diffuse light that weaves around the starkshapes of its buildings, especially during sunrise or sunset. Details are keptto a minimum to emphasize the softness of this light. The Parisians on the

left are really just lines. Based on an on-site sketch, I was happy to capturethe essence of urban Paris. Juxtaposing warm and cool washes was atechnical challenge; I pushed cool values further back so buildings recededdramatically. France is a favorite painting destination for the difference inlight between the north and south (compare my painting on page 67).

Waiting for the Lunchtime Crowd | Carla Gauthier

30” × 22” (76cm × 56cm)


Backlighting Transforms a SceneTo capture rich darks, backlit subject matter requires colorful underpainting.Golds, reds and blues are laid down first, then rich darks are layered over.One dark tube color will not cut it! But ultimately, this painting is not aboutcolor, but about light. The midday sunlight provided a dramatic halo for thishumble waiter in the shadowed Venetian Arcades. This is not your averagelunch spot—the soaring ceilings, the views of St. Mark’s, the sculpturesflanking the restaurant, and the gelato!

Backlit subject matter requires colorful underpainting.

—Carla Gauthier

Shanghai Rainy Day | Zhanguo Liu

165” × 228” (420cm × 580cm)

Watercolor on Lana watercolor paper

Find Your Keynotes of Color andValueIt seems that water can be squeezed from the air in the rainy season ofShanghai—which suits watercolor painting just fine! I took a photo of thebeautiful sight that day. Back home, I saturated the Lana paper with wateron the reverse side first, then the keynotes of color and value were set witha broad brush on the front side. I take my time finding the shapes of thebuildings. The reflection of the car light on the slippery road was reserved inadvance—I never use masking fluid. Finally, the whole picture wascompleted leisurely on the basis of the keynotes.

My Perspective | Catherine Hillis

16½” × 17” (42cm × 43cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed Artistico Fabrianopaper

Build Light With Many Wet GlazesMichelangelo’s David is a wonder. As I walked up to the iconic sculpture,the room was infused with a soft light that seemed to cloak the statue in anaura. The awe of the crowd vibrated in the air. I had to paint this scene—tocapture the students, the tourists and the great statue. I wanted to paintthe light coming from above and the pops of color moving between figures.When I took this idea into the studio, I decided to play with my design,hoping to imbue the solemn scene with a bit of humor. I painted many wet-

into-wet glazes in the background, building light, hopefully adding a senseof wonder to the scene.

Play with your design and leave some things to the viewer’s imagination.

—Catherine Hillis

Bridge Nymph | David Wicks

18” × 24” (46cm × 61cm)

Transparent watercolor and acrylic on 300-lb. (640gsm) cold-pressed paper

Liquid Acrylics Yield Bright GoldI encountered this must-paint subject on a trip to Paris. The two things thatinspired me most were the serene face and the way the gold accentsprovide such strong counterpoint to the grays. The challenge was in tryingto achieve a strong sense of light and drama with a limited palette of colors.The grays were painted in thin washes of Ultramarine Light and BrownMadder, with Raw Sienna, Rose and other colors dropped into wet washes. Ifound through experimentation that liquid acrylics provided the brightestgold, which was essential in conveying the counterpoint to the grays.

Exodus | Antonio Masi

30” × 40” (76cm × 102cm)

Watercolor on 300-lb. (640gsm) rough paper

Light Creates MoodThe image was by from a ride across the Verrazano-Narrows Bridge oneFriday afternoon. I was trying to capture the mass exodus that occurs at thestart of a long weekend. I painted this from memory, photographs and quickthumbnail sketches. My approach was direct and quick. I put down largebrushstrokes followed by glazing. I constantly strive to keep the firstimpression that inspired me. In this painting I was struck by the play of lightlate in the day and the golden light.

Strive to keep that first emotional mood that inspired you.

—Antonio Masi

Paris | Chizuru Morii Kaplan

41” × 29” (104cm × 74cm)

Transparent watercolor with white gouache on 500-lb. (1060gsm) roughArches

Watercolor Light Imitates LifeA gorgeous clear day in Paris was quickly covered with thick stormy cloudsand got very dark. Then suddenly, like a spotlight beamed at an actor on ablack stage, the strong sunlight hit this Parisian architecture causing it tostand out from the darkness. I began by boldly painting the darkest forms of

the building with a hard bristle brush. Then with a big hake brush, I paintedthe large shadows and deconstructed the building details. When the darkcolor for the sky was applied, suddenly and dramatically the paper white Ileft for the sunlit part of the structure appeared as a dazzling light. Just likethat day in Paris!

Lions on the Avenue | Paul Mason

15” × 22” (38cm × 56cm)

Transparent watercolor on 300-lb. (640gsm) rough Fabriano Artistico

Layers of Warm and Cool ColorsDefine FormFor me, the act of painting is a process of discovering how my experience ofthe subject becomes a painting. Though I am a representational painter,artistic color is more important than “naturalistic” color. I first usetransparent colors to define an underlying geometric structure of thecomposition and color key. Upon that are applied overlapping layers of bothwarm and cool colors to define form in light and space. This creates agreater sense of space than relying on the basic warm foreground/coolbackground approach.

The Castle Green | Brenda Swenson

30” × 22” (76cm × 56cm)

Watercolor-stained paper collage on 300-lb. (640gsm) watercolor paper

Collage Start Simplifies ShapesThe presence of strong light and shadows is what draws me to any subject.Working from life has taught me to be an ardent observer. In my studio Iprefer to work from location sketches for my larger paintings. I will also usephotographs for architectural details. I start by staining Japanese papers (4”× 9” [10cm × 23cm]) with watercolor. I stain enough papers to give me awide range of color choices. Next I block in the subject with these colorful

papers. The entire surface of watercolor paper is covered with collage. Atthis stage I begin painting. This technique helps me to simplify shapes,abstract foreground and push color.

But Is It Art | Susan M. Stuller

21” × 29” (53cm × 74cm)


Large Values Must Be Correct BeforeDetailOn a recent trip to London, my husband and I were out exploring when westumbled upon this skateboard park by the Thames. The light was so poor—all gray and muted—but the scene begged to be painted, and I took severalquick photos. I worked up several sketches upon my return, eliminating theskateboarders and adding the three figures, thus creating the “gallery”mood. Value and color were built up gradually as all of the large areasneeded to have their values correct before the graffiti detail was painted.The light beam and foreground was a moment of divine inspiration thatpulled the painting together in the end.

For a painting to be successful you must put a part of your soul into it.

—Susan M. Stuller

Burrard St. Vancouver, BC | Ron Stocke

21” × 14” (53cm × 36cm)

Watercolor on 140-lb. (300gsm) cold-pressed paper

Shadows Pull You Into the PaintingThis painting was done on a trip to Vancouver, Canada. Vancouver is allabout the light here, and it was one of those great warm days in late fall.With a limited palette of Cobalt Blue and a yellow-orange, I kept the distantbuilding simple and cool in temperature so it wouldn’t compete with the

light breaking through the trees on the right. These I handled with acombination of wet and dry brushstrokes making this area of the paintingmore dimensional. The shadows bring the viewer’s eye into the compositionand add mystery and lost areas to the painting.

3

The Still Life

Ripening Pumpkins | Steven Kozar

10” × 14” (25cm × 36cm)

Watercolor on 156-lb. (335gsm) hot-pressed Arches

I set up and photographed this still life at a local farm. The morning sunadded vibrant light and dark drama. I was challenged to faithfully depict thegreenish “veins” on the surface of the unripe pumpkins, and was verydeliberate in my use of warm and cool colors to represent sunlight andshadow, even the tiniest shadows in the rocks.

My Special Place | Keiko Yasuoka

16” × 22” (41cm × 56cm)


Soft Edges Express RelaxationI created an image in my mind of a special place that I could retreat towhen I want to relax. I then converted the image into a motif to paint: abedroom with the late afternoon sun flowing through the window andbathing the bed, pillows and my favorite books with soft, warm light. Igravitate toward natural light and colors, so I used what I considerearthtones: Raw Sienna, Brown Madder and Indigo. Limiting my palette tothese three colors created harmony. Using glazes, stippling and scrubbingtechniques resulted in subtle value changes coupled with soft and vanishingedges. I left just enough hard edges to create interest.

Clementines | Karin Isenburg

17¾” × 24½” (45cm × 62cm)


Glaze Shadow Colors One by OneThe way the clementine orange color reflected on the blue and white polka-dot material particularly inspired me. As a child our family went on many cartrips. My dad would often look up at the sky and say it was salmon bluepink. Never just blue. As an artist I have learned to see color in objects andtheir shadows and to express what I see by layering the colors. InClementines the shadows were a myriad of beautiful colors. I applied eachcolor in thin glazes, letting each one dry in between. The result was seeingeach color reflecting thru the others in a way mixing colors never gave me.Salmon blue pink … thanks, Dad.

Sole Mates | Anne Chaddock

20” × 29” (51cm × 74cm)


Chaos With ContinuityA basket on a boat to remind you to remove your shoes when you board! Asa landlubber this was news to me, and I found it a fascinating subject topaint. I loved the chaos-with-continuity. I hope viewers can feel the warmthof the day by the strong sun and cast shadows. I believe violets areeverywhere and this painting is certainly born of violet. Ultramarine orCobalt Blue with Permanent Rose gives beautiful purples. For a slightlyquieter violet I use Alizarin Crimson in place of the Permanent Rose. Toneutralize the violet, substitute Raw Sienna. The darkest hues are made upof Ultramarine Blue Deep with Transparent Red Oxide. On the white shoes Ilayered thin glazes of one transparent color over another to represent thestrong sunlight bouncing off the surface.

If in doubt … paint it purple.

—Anne Chaddock

Real Cherries | Penny Thomas Simpson

14” × 18” (36cm × 46cm)


Backlighting Against DarkBackground GlowsWhen I paint, lighting is everything. I have to take a lot of photographs inorder to get the lighting just right since my skill does not lie in photography.I most often use backlighting because I want my subjects to actually glow. Ihave no interest in painting backgrounds, so I usually just paint them black,and this certainly allows whatever I paint, either still life or flowers, to cometo life. Real Cherries is part of a series. Each painting had fewer and fewercherries in it until the last cherry was gone. Delicious!

Clear Glassware | Laurin McCracken

12” × 28” (30cm × 71cm)

Transparent watercolor

Reflections and Refractions: GlassClear Glassware is the first of a series of paintings that I refer to as “theglassware you grew up with.” These incorporate the glasses, jars andbottles that used to be found in almost any American home, at least in yourgrandmother’s pantry. Painting glass is all about the light that is reflectedand refracted from and through the pieces. In order to make the highlightsas white as they need to be, the rest of the painting must be a shade ofgray. This watercolor was appointed from a photograph. I set up the still lifeusing a single light source. It is painted in the traditional English transparentwatercolor style; the whites are the white of the paper.

Year of the Rabbit | Patricia Schmidt

21” × 14” (53cm × 36cm)


Cheesecloth Helps Develop TextureThe warm glow of light is my favorite subject. I especially love to create atrompe l’oeil effect by using a value underpainting in the shadows. In Yearof the Rabbit, I put cheesecloth on the painted fabric shadows and painteda dark layer of Burnt Umber on top. When the cheesecloth was removed, adark pattern of lines remained, suggesting the fabric weave. Additional

Burnt Umber washes sculpted the value underpainting. More glazes ofAlizarin Crimson, Permanent Rose and green mixtures completed the fabricpatterns. Hard and soft edges on the pear and rabbit shadows contribute tothe illusion of brilliant sunlight.

Painted With a Roller | F. Charles Sharpe

22” × 30” (56cm × 76cm)


Old Buckets Inspire a LooseApproachWhile searching for a different subject matter to paint, I discovered thesewell-used paint buckets on a table in an old boat shed. Knowing that thelight would last only a few minutes, I quickly made several photographs andused them to create the final composition in my studio. The strong sunlightstreaming through the door created some different and varied white shapes,which I chose to leave as unpainted paper. I then painted the shadows andbuckets away from the light with as much color as possible. These oldbuckets have inspired me to experiment with more color and a looserapproach to my paintings.

Anticipation | Carrie Waller

23½” × 32” (60cm × 81cm)

Watercolor on 260-lb. (360gsm) cold-pressed Arches

Morning Light Produces Stained-Glass EffectChildhood memories of my great-grandmother’s canning pantry were theinspiration for this painting. The way the sunlight filtered through thewindow onto her Ball jars created a stained-glass effect that I wanted torecapture. In setting up my still life, I used dramatic morning lighting andthen photographed the jars. At first glance Anticipation may seem devoidof color, but upon closer inspection bursts of gold, turquoise and UltramarineBlue are everywhere. I methodically paint from right to left, completing asection before moving to the next. This ensures that I’m happy with theoutcome of the painting.

Cootchie Coo | Suzi Vitulli

10” × 13” (25cm × 33cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed paper withmetallic accents

Cozy Up to Your Happy AccidentsCootchie Coo was painted in the studio while studying a handful ofbeautiful peacock feathers. The colors of the feathers seemed to move inthe light giving them a wonderful translucent, even opalescent appearance.To try to capture this, I let the paint blend and overlap as I lay colors nextto each other on slightly damp paper. I painted the fringe/barb with aloaded rigger, reloading between every stroke. When I brought this piece infor framing, I accidentally signed it upside down. My heart sank. But when Ilooked at it in this new direction, I noticed the bigger feather cozying up tothe smaller one. That’s when it came to me to name it Cootchie Coo. I

love those happy mistakes.

Waiting in the Wings | Chris Beck

12” × 12” (30cm × 30cm)


Computers Give New Artistic ToolsUnlike the majority of my still lifes, this one is a composite of two elements—a photo I took of my silly vintage saltshakers and a vintage circus posterthat I scaled down for the background. I merged the two images in myworking sketch and then adjusted the colors and values as I painted. Takingphotos of the work in progress and manipulating them in Photoshop, I tried

out variations before painting them. As a result, I deepened the value of thecircus poster images with colorful washes until the saltshakers really poppedout visually and appeared bathed in light.

Another Round of Primaries | Robin Lee Makowski

14½” × 17” (37cm × 43cm)

Transparent watercolor on hot-pressed Canson rag board

Many Layers of Dry-Brush GlazingAnother Round of Primaries is from my Happy Hour series. All of mystill lifes are set up in natural light, and the composition is developed frommy photos. Backlighting is important in many of my paintings. With thisimage, the glow of the sun through the ice and the condensation on theglass were challenging. I accomplished this on the smooth substrate withmany layers of glazing with a very dry brush and painting around thewhites. While primary colors star, many colors play throughout thecomposition. The title’s double entendre: in today’s political atmosphere agood, stiff drink helps!

Papaya | Karen Fletcher Braverman

22” × 30” (56cm × 76cm)


Let Your Subject Guide YouSometimes inspiration can be hard to come by, and sometimes it magicallyappears in your camera lens. My initial idea was to paint a series of still lifesfeaturing different pieces of the blue and white china I have collected overthe years. As I began to photograph the china in various setups, Iincorporated different objects that would enhance the china. Originally thepapaya in the setup was simply to show off the bowl with a complementarycolor scheme. However, as I photographed the setup, the papaya quicklyupstaged the bowl and became the star of the show. This colorful fruit willhave to have a series of its own.

Fresh Squeezed | Frank Spino

17” × 15” (43cm × 38cm)

Transparent watercolor on Arches watercolor board

Paint First, Breakfast Can WaitThere is nothing like fresh squeezed orange juice to start the day. I watchedas my wonderful wife twisted and crushed the oranges over the ribbeddome of the juicer when one of those longed-for lightning bolts ofinspiration struck. Our meal was postponed. What once was breakfast wastransformed into still life. With camera in hand we dragged everything

outside into the brilliant morning sun. Thus bathed in light, the juicer turnedmagical. Three of my best watercolors came from this shoot. Light, color,design—kismet. A fortunate morning!

Makin’ OJ | Frank Spino

24” × 18” (61cm × 46cm)


Sunshine OrangesThis is a dynamic, high-keyed watercolor. Light cascades overtop the orangespheres and seems to set them rolling across the page. I was excited by theway the crisp morning sunlight fell, from left to right, boldly on the firstorange, obliquely on the next, with the last cast in shadow and lit fromwithin by light transmitted through the fruit itself. I was intrigued by and

challenged to capture the luminous cellular quality of the juicy cut orangesand then their mottled rinds. Light traveled 90 million miles from our sun tomy cluster of oranges to create that moment in time.

4

Water and Boats

Holy Morning at Nasik Ghat | Prafull B. Sawant

18½” × 30” (47cm × 76cm)

Watercolor on 90-lb. (190gsm) cold-pressed Arches

Since my college days I have been attracted to the Ganga Ghat in Nashik,India, an area of temples, water, birds, tourists and always many people.This special place has remained my inspiration. In my paintings, connectingshapes is most important, followed by tonal value, then finally color.

Lytham Cocklers | Graham Berry

19” × 27” (48cm × 69cm)


Leave Bits of White for SparkleA sunny Sunday afternoon in early November, the last day of “cockling”before the cockle beds would be closed until the spring. There’s a specialquality of light at the seaside, bouncing everywhere off the wet sand andreflecting from the small pools of water. The near-blinding sunlightstreaming from behind the boat and tractor, contre-jour, created very strongshadows. I began with a very weak overall wash of Raw Sienna beingcareful to leave the white of the paper for the highlight on the sand. Whilethis wash was still damp, I floated in Cerulean Blue and Alizarin in the skyarea. When dry, I painted the boat, tractor and shadows with a continuouswash leaving some white of the paper for all the little highlights that addsparkle to the painting. I finished off the painting with some dry-brush work

in the foreground taking full advantage of the paper’s texture.

After the Rain | Kathy Collins

22” × 30” (56cm × 76cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed Fabriano Artistico

Sketch a SensationOur boat glided west out of Skyline Marina bound for Decatur Island off theWashington coast, the air still shimmery after an early afternoon rainshower. Gulls’ cries pierced the thick atmosphere. Looking ahead I wasstruck by the dark land forms silhouetted against the fading light and quicklypenned a sketch. Later in the studio, splashing watercolor onto paper, Irecalled the sensations and tried to re-create that moody, luminous scene.

4 Canoes at Kanuga | James Scott Morrison

20” × 29” (51cm × 74cm)


Color Adds LivelinessI took a number of photos of this scene near noon, not generally a goodtime to take pictures for a painting. But it proved to be beneficial because ithighlighted details that were important to the painting, such as oarlocks,cables fastening the canoes to the dock and the seating detail. The originalcolors were dull—mostly a rusted gray. Back in my studio, I wanted to addsome life to the painting, so for the inside of the boats I used the threeprimaries plus green.

Floaters | Kris Parins

21” × 29” (53cm × 74cm)


Poured Washes Can SimulateTranslucencyThe strong design possibilities first attracted me to the cluster of canoes.They provided the perfect way to tell the story of the radiantly sunlit day,with the complementary colors contributing interest and vibrancy. I wasstruck by the way the sunlight pierced the water and made the boatsappear translucent. In order to achieve large glowing washes with subtlegradations, I liquefied pure pigments (Quinacridone Gold, Antwerp Blue,Brown Madder and French Ultramarine Blue) and poured them separatelyonto wet paper. Whites were saved with masking fluid. Subsequent maskingand pouring built up a depth of color and granulated texture. The Z pattern

of the composition causes the eye to glide back and forth, imitating theshifting of the canoes in the water.

Redwood Creek | Stuart Givot

22” × 15” (56cm × 38cm)

Transparent watercolor on 140-lb. (300gsm) cold-pressed Twinrocker

Keep Your Head When AccidentsHappenMy reference was a 1901 photograph of Redwood City, California. Today ifyou were to stand on the spot from where the photograph was taken, thecreek would be covered and you would be looking at a three-story parkingstructure from the middle of a six-lane thoroughfare. I drew (freehand) fromthe photograph onto my watercolor paper. I masked out the lights andwhites … and then disaster. I spilled about a half bottle of masking fluidover the foreground boat and water. But I kept my head, let it dry andremoved it. After redrawing some areas that the masking fluid removed, I

applied the background wash over the whole sheet. I painted the sky andwater at the same time, with a unifying wash before adding the details.

Hint: Masking fluid will not come out of khaki pants.

—Stuart Givot

Dordogne River Valley View | Frank Eber

14” × 20” (36cm × 51cm)


Robust Southern French LightThis is a value-based painting; my aim was to capture the hazy sunlight inthe Dordogne. I used two transparent watercolor washes. Southern Frenchlight can be robust and lively, and this painting depended on the white ofthe paper shining through underneath.

Mirror of Sky | Prafull B. Sawant

18½” × 30” (47cm × 76cm)


Gray Sky for Mystical FeelNashik. Ganga Ghat. It was early morning and I was sitting on the bank ofthe river Godavari that flows through Nashik, a pilgrimage city and mybirthplace. I looked at the values and assessed: Where is the white? Whereis the light? I put down initial washes of Yellow Ochre and Cobalt Blue,keeping a gray tint in the sky to express the early morning and to give thepainting a mystical feel. Tone is king and color a mere assistant. Connectingshapes is most important. With a flat brush I painted the foreground wavesusing river water to give the painting local life. In the overall gray colorscheme I added the orange flag and some other touches of orange to add ahint of a Hindu theme to the composition.

Ancient Waterway | Peng Cao

22” × 30” (56cm × 76cm)


Misty Waters in the Oriental VeniceThis work was inspired by my hometown, Suzhou, known as the “Paradise”in ancient China. It is also regarded as the “Oriental Venice” where boatsbob along waterways interwoven with small yet handsome bridges that runparallel to the streets, and traditional houses built along them. I combinedboth wet-in-wet and dry-brush techniques to capture the mist floating onthe water and the waves caused by the boats in the early morning. Icompleted the painting quickly, knowing that the mist would soondisappear, as evidenced by the reflection of the sunlight on the walls of thehouses along the banks. The muted colors are reminiscent of the thousandsof years of history behind this scene.

Dardanelles Lake | Richard Eaves Woods

15” × 22” (38cm × 56cm)


Keep Reflections a Bit Damp forSoftnessEarly morning sunlight just grazes the face of the big granite cliff that loomsover Dardanelles Lake in Tahoe Basin, California. The reflection was almostmirror perfect, so this was an effort where timing was everything. Successwas all about those transparent washes. The reflections had to be kept justthe slightest bit more damp to let the edges soften. The cliff is dead flat;the only depth comes from the illusion of the reflected counterimage. I useda wet-mount technique to hold the paper down for the first pass, soakingthe paper so that it would suck down flat to a waterproof support, then useda mister to keep the reflection area damp.

Rookie mistake #1: I soaked the first sheet of paper too long and washed out the sizing. It waslike painting on a sponge.

—Richard Eaves Woods

Beaufort Marsh | Nancy Walnes

11½” × 15¾” (29cm × 40cm)


Backflow can Work in Your FavorWhile visiting Beaufort, South Carolina, I came upon this tranquil, timelessscene with soft, rich-colored grasses, and glassy, lit water that woundaround to an unknown destination. Back in my home studio, I used a limitedpalette of Ultramarine Blue, Burnt Sienna, Quinacridone Gold andPermanent Alizarin Crimson with a wet-into-wet technique. Painting quicklyand loosely, I laid in a pale blue wash before letting the colors of the treesand marshes mingle together. I then dragged some of the paint down toindicate reflections, went back in with darks where land and water meet,and splattered for texture. When the paper was almost dry, I scraped outsome of the tall grasses with a sculpting tool. In areas still wet, there was abackflow of paint that worked in my favor.

The flow of the medium and blending of color on the paper allows a freedom of hand andsimplicity of expression.

—Nancy Walnes

Kayaks | Hugh F. Baker

67” × 56” (170cm × 142cm)

Watercolor on handmade watercolor paper

Rocks Become BoatsI am always taking photos for research. I ran across a few shots of theGrand Canyon and decided to use the rock shapes for my composition. Anafterthought was to add the title Kayaks to give the rocks a sense ofdimension (and a bit of humor). I started with several comprehensivesketches to decide on a composition, then set up a large, handmade, very

thick watercolor paper from Spain (6’ × 6’ [2m × 2m]). After drawing thebasic composition, I painted very loose large shapes as underpainting. Atthis point, contrast of light, shadows and color were essential. I slowlyenhanced the color for correct values. It took one week to complete.

Afternoon Stroll | David L. Stickel

15” × 23” (38cm × 58cm)


Lines of Foam and WavesI’ve always been fascinated with the majesty of the ocean and with thefoam the surf kicks up and leaves behind as it retreats back to its source ofthe never-ending waves. The expanse of the pier at Ocean Isle Beach, NorthCarolina, especially captivated my attention. Then the eye transverses tothe lines of the foam and waves, crisscrossing, ultimately finding their wayto the light of the sun. Lining up a series of overlapping reference photos, Ifelt again the sensation of standing in the surf, gazing at inexpressiblebeauty.

5

Not So Wild Life

Sinatra | Kay Smith

15” × 22” (38cm × 56cm)


This cat’s Sinatra blue eyes beckoned me into an unusual store. SpecialEffects is the store’s name, and elegant reflections from antique crystalglassware and lamps bounced light into (and out of) this rescue cat’s whitefur. The luminosity was conveyed by working dark to light, wet-on-dry,without any masking.

Milk Goats of Sannenland | Linda Erfle

17” × 22” (43cm × 56cm)


An Initial Yellow Wash CreatesRadiant LightThe radiant light and the expressions of the animals grazing in pristinepastures near a small village in the Swiss Alps was captivating. The subjectsseemed to glow as clear, bright sunlight struck them and their surroundingscausing color to reflect back onto the animals. The paintings werecompleted in my studio from photos I had taken, and then rearranged tosuit my compositions. Beginning with paper that was wet on both sides anda large brush, I applied a pale yellow wash that would glow throughsubsequent layers of paint and help to capture the essence of sunlight. As

the paper dried to damp, I continued on, indicating general shapes andusing increasingly darker pigment to define them.

Swiss Cow | Linda Erfle

28” × 20” (71cm × 51cm)


Three Horses | Brenda Cretney

18” × 23” (46cm × 58cm)


Darker Darks Make Lighter LightsThe three horses in this picture live at my friend’s farm. The photos I usedwere taken on a day when the sun was especially strong in the backpasture, flooding it in a beautiful sunny yellow. To make the light in thepainting lighter, I used the contrast of darker darks. At the time I did thispainting, the horse in the middle, P.C., had no idea he was over thirty yearsold. Old horses enjoy eating good grass just as much as young ones.

The Farm | Wen-Cong Wang

20” × 28” (51cm × 71cm)


Combination of Warm and CoolCreates RichnessIn the northwest of China near the border, there is a small, beautiful village.It is said that the locals are the descendants of Genghis Khan. Following thenomadic traditions, they follow their livestock to fresh new pastures insummers and come back during harsh winters. In the fall the ever-changinglight and color always take my breath away. At dusk the colors of thesetting sun are flooding in, painting the cattle and pinewood cabins a brightgold and transforming the village into a sparkling fairyland. My choices ofyellows and purples suggest a complementary color scheme along withmany colorful neutrals to balance the contrast. The combination of warm

and cool creates a richer and more luminous feeling of rays. To make themost of the fluidity of the pigments and water, I stretched the paper andstraightened up the board to acquire the effect on the background.

Morning Glow | Jean Kalin

18½” × 21” (47cm × 53cm)


Classic Munsell System for ColorSchemeThe white of the paper is the light in transparent watercolor. Outsidesunlight falling on my cat was a special moment to photograph. Whilepainting, the background was kept soft to contrast with his textured coat,while the quilt was added to bring in color. For twenty years I have used theMunsell system for my analogous color schemes. Here the dominant color isblue-green with blue and green adjacent colors. Red is the complement with

gold and magenta discords. Wet-into-wet underpainting is perfect for softhair. I carefully added layers of color and the quilt designs. The final touchesare dry brushed with whiskers scratched out with irregular edges to showsun sparkle.

Corbi | Susan Crouch

6¼” × 8½” (16cm × 22cm)


Masking Helps Capture BacklightingCorbi is my thirteen year old golden girl. She’s with me in the studio eachday, lying on the floor with her rope or tennis ball nearby. This watercolorwas painted from my photo with the hope of capturing her gentle spirit. Iloved the backlight and decided to accentuate it by preserving the whitesagainst a variety of values. After masking the outer portion of her head, thebackground was floated in and then dried before painting the foreground.Throughout the painting I focused on linking similar values for visualpassage. Colors were chosen with contrast in mind, playing the blue-greenbackground against her reddish brown coat.

Lose edges and link similar values to find a visual pathway through your painting.

—Susan Crouch

Big Baby Beef | Christopher Leeper

14” × 21” (36cm × 53cm)

Transparent watercolor with gouache accents on 140-lb. (300gsm) cold-pressed Arches

Batch Shapes of Similar ColorTemperatureThis painting was done from a photo taken at a county fair. It was inspiredby the combination of rim lighting and reflective surfaces. Although thereare interesting colors present, it is really a painting designed around theinteresting shapes and value contrasts created by the lighting conditions. Ilooked for shapes of similar value and temperature and painted them at thesame time, for example, the roof shadows and trees in the background andthe dark shapes on the cattle. The title was suggested by my wife as a joke.I’m not sure what it means, but it just seemed to fit.

Meana | Ross Lynem

19” × 13” (48cm × 33cm)


Local Art Proves an InspirationWhile traveling in Holland I came across the most amazing paintings ofcows. These quirky, whimsical creatures soon became my obsession in aseries of paintings. The glowing light and the look of surprise on Meana,owned by Hettie Koens of the Netherlands, won me over. I chose ananalogous palette of blue through purple with pink accents. I began with hereyes and then slightly exaggerated her humorous expression. Finally, to addimpact, I chose color complements for the glowing background. I namedMeana after my mother-in-law because they are both so lovely.

While painting, pay close attention to the wee small voice within. It has not failed me yet.

—Ross Lynem

Blue Raven | Fahmi Khan

7” × 10” (18cm × 25cm)

Watercolor on paper

Technique Merges With SymbolismThis watercolor was a demonstration session from memory. The idea was touse one brush (flat) and two colors (blue and very little black). Emphasiswas given to freedom of movement and how to control value in quickgestural strokes. Dark and light values were controlled through layering andthe ratio of pigment to water. This painting also represents light and darkon a symbolic level. In Native American culture the raven is a symbol ofboth light (helper of humanity) and dark (the sometimes evil trickster), thusmy choice of this bird to represent the current theme.

Papillon | Michelle Goll Smith

6” × 6” (15cm × 15cm)


Glazing Produces Dark FurThe warm, summer sun was shining through the window and lighting mylittle Papillon’s fur in such a way that he seemed to glow. Quickly, I snappedseveral photos to capture the fleeting moment. Using Quinacridone Gold,Permanent Rose, Burnt Sienna and French Ultramarine Blue, I did anunderpainting for the black fur. Over that, I applied several glazes of Burnt

Sienna mixed with French Ultramarine Blue and lifted some of it off where Iwanted highlights. A bit of masking fluid was used where the sun wasilluminating his fur and whiskers.

Go | William Rogers

11” × 15” (28cm × 38cm)

Transparent watercolor with gouache accents on 140-lb. (300gsm) roughpaper

Capture Action From VideoReferenceGo is from a series done in the studio using video and digital reference Ishot from the starting gate at the local racetrack. I have a twenty-yearpersonal history of racing horses—a source of intimate visual experience.Initial studies in pencil, charcoal and watercolor gave me a feeling for theaction and movement during the mid-afternoon light. Using my DVD playerset at eye level next to my easel helped me to see and capture the lightand atmosphere of the event. I used transparent watercolor on dry paper,

allowing the color to have more intensity, softening edges where needed.For finishing touches I added splashes of gouache and final accents andhighlights.

Harpy Eagle | Soon Young Warren

22” × 30” (56cm × 76cm)


Simple Color Scheme for a GrandCreatureA zoo visit became a special event when I saw this majestic black and whitebird. Its silhouette high against the sunlight grabbed my attention—a harpyeagle. She disappeared into the dark dense tree, but when her headdresscaught the sunlight, the awesome sight made my heart soar. Without thelight, it was an ordinary black and white bird, but with light hitting thefeathers, the eagle’s brilliant definition boasted of its grand presence. Ifrequented the zoo often to capture the perfect image. To paint the eagle’sgrandeur, I kept the color scheme simple. After applying masking fluid on

lighter feathers and the highlights of the eye, I applied many glazes of color,a mixture of red and blue for the head, adding more blue to its body tofinish the painting.

6

Our Designs and Devices

Going Green | Dave Maxwell

21” × 29” (53cm × 74cm)


An ancient English motorcar with chrome surfaces reflects midday sunlightfrom a surrounding enclosure of buildings, providing shapes for whimsicalabstract designs. Who knew realism could be such fun? I was shocked tolearn that this spacious limousine was built by Triumph, known for jauntytwo-seat roadsters.

Absolution V | Joyce Stratton

48” × 36” (122cm × 91cm)

Acrylic and collage on wood panel

How Do You Paint a Concept?This painting was done in my studio, focusing on the word absolution todirect the tone and feeling I wanted to convey. Absolution meansforgiveness, represented in my painting with many thin glazes of cream and

blue, giving it a light, airy quality. I used a mixture of Prussian Blue,Magenta and Titanium with a little Azo Gold. I finished with collagedmulberry paper with the addition of printed words, symbols and lineelements of charcoal and graphite.

Metaphor #6 | Elizabeth M. Hamlin

15” × 11” (38cm × 28cm)

Transparent watercolor on hot-pressed paper

Broken Glass Brings New IdeasAbout three years ago I started exploring the intricacies of painting glassusing colored bottles. Then a major crisis occurred in my life, and I had todo something different. So I broke the bottles into pieces and looked for anew background and surface. One early morning, the table in front of my

studio window caught the low winter sun shining through the shards. Thiscast long, colorful shadows, creating two sets of abstract shapes. A littlerearrangement to better integrate the glass and shadow shapes—and a newtransparent series was born.

Konbanwa | Judy Welsh

22” × 30” (56cm × 76cm)

Watercolor and watermedia on 300-lb. (640gsm) cold-pressed paper

Repetition Leads to InventionThis painting is based on items I have collected from my travels to Japan.Konbanwa (“good evening”) expresses the light, color, patterns andtextures of objects painted over and over again. Repetition helps me subduemy control issues and allows for inventiveness. Ukiyo-e, the Japanesewoodblock print, was new to seventeenth century Japan, and it impactedartists internationally. It particularly inspires me. The subject matter waspredominantly images of the Kabuki theater and the geisha. The boldshapes, strong lines, traditional subject matter and splashes of intense colorare the very qualities I incorporated into Konbanwa.

Recycle | LaVonne Tarbox Crone

30” × 22” (76cm × 56cm)

Transparent watercolor with gouache accents on 300-lb. (640gsm) hot-pressed Arches

Color Expresses Strong EmotionsThis painting evolved from a photo of my late son’s mountain bike. I initiallyleft the background white. After much contemplation, I used shades of redbecause of the loaded emotions around the bike and the fact that my sonwas killed in an accident. Layering the red to emphasize how dark it can

get, I wanted it to appear wet and dripping. Transparent watercolor was themagic that made the yellow jockey wheel appear to glow. Gouache cameinto play to clean up details and add intensity. Striving to take the valuesfrom pure white to black seemed to fit this image of the bike my son built.

The Secret of the Old Clock | Sue Pink

22” × 15” (56cm × 38cm)

Transparent watercolor with opaque accents on 140-lb. (300gsm) hot-pressed paper

Allow Your Right Brain to Begin aPaintingDuring the quiet hours of the evening, I randomly choose paints and allowthe right side of my brain to experiment with color and texture. When colorsintermingle and drip, I force additional movement by lifting and turning the

paper or by misting. When an image begins to emerge, I start to considerthe composition. The light values become more intense as I create darkvalues. I’ve painted myriad clocks over the years, so I tend to “find” clocksin many of my paintings during this stage of development. This painting wasinfluenced by a series of books I read in my teenage years by CarolynKeene, specifically The Secret of the Old Clock.

Cosmic Dancer | Cristina Del Sol

25” × 19” (64cm × 48cm)

Transparent watercolor, acrylic inks with collaged accents on heavy Yupo

Experiment With TexturalUnderpaintingI love the creative process. Experimenting with textural underpaintings inwhite gesso, a flowing godlike figure emerged. Glazes of golden and blue-green watercolors established temperature contrast, imparting a spiritualquality as the gesso shined through. Adding lighter and darker shapes withinincreased value contrast and created the illusion of light filtering throughthe figure. To reinforce the center of interest, two geometrical shapes inopaque turquoise and orange acrylic inks were collaged. These opaques

were repeated elsewhere for unity. Finally linework was added.

I tried to symbolize universal energy, where light is the destination and dark the mystery.

—Cristina Del Sol

Steam’n the Roundhouse | Charlene Gerrish

34” × 27” (86cm × 69cm)


Sunlight Transforms Dull Black IronMy husband and I were in Portland, Oregon, to “chase” and photograph the700 (circa 1935) on one of her final runs from the soon-to-be-demolishedBrooklyn Roundhouse. We got there as the steam started spewing from themassive black engine nicknamed “The Lady.” Early-morning sunlight pouredthrough the antique clearstory windows as the 700 powered up. Dull blackiron was transformed to shades of purples and blues while the sunlight

illuminated one side of the engine. I started by leaving sections of the paperwhite, and working wet-on-wet from light to dark. No masking or whitepaint was used. Before the train had even backed out of the roundhouse, Iknew that I would be desperate to capture and share this moment inwatercolor.

Chaos of Commitment | Cathy Hegman

22” × 29” (56cm × 74cm)

Transparent watercolor with ink and watercolor pencil accents on syntheticpaper

Chaotic Line Work ExpressesConceptThis is a painting about the pressures and chaos of the commitments weface in our lives. I tempered my watercolor paints with powdered graphiteand powdered charcoal to give them a grainy effect. I used India ink andwatercolor pencils as accents, reinforcing my concept with the use of chaoticline work. I wanted to give the painting a somewhat dirty appearance inorder to make the more colorful figures the center of attention. I workedwith a somewhat limited palette and employed very high contrast in thevalues to achieve a strong result.

Gawkers Slowdown | Doug Meythaler

14½” × 20½” (37cm × 52cm)

Watercolor on 140-lb. (300gsm) cold-pressed paper

The Glow of Color and LightCar shows are a wonderful place for me to be inspired. The well-polishedcars glow with color and reflected light. Taking lots of pictures, I try to showthe subject from an unusual vantage point. For this shot I climbed up thebase of a lamppost. Back in my studio I do a study sketch, often movingthings around to work out the best composition. After it’s drawn out onwatercolor paper, I slowly start building up glazes. I make sure I takespecial care to preserve my whites by carefully working around them.

Show’s Over | Lorraine Watry

19” × 13” (48cm × 33cm)


Light Played the Band InstrumentsChaperoning for my son’s high school marching band, I started takingpictures of all the instruments, replete with brilliant reflections from theafternoon light coming off the field. I was excited to find the green-goldreflections in the tuba and helmet in this otherwise limited color palette.After combining two photos, I did a very detailed drawing, masked areas toprotect them and used a variety of grays. My favorite gray was a mixture ofCobalt Blue, Permanent Rose and Aureolin Yellow. Now I am an avid fan of

painting metal and of marching bands.

To paint realistic metal you must first become an abstractionist.

—Lorraine Watry

7

Landscape View

Ocean and Ahern | Robert Leedy

19” × 28” (48cm × 71cm)


Countless times, I passed this scene in the small, beachside community ofAtlantic Beach, Florida, whether riding my bike or walking the dogs. Onemorning after an early rain shower, the rising sun created rich, warmbacklighting balanced by a cool foreground. After an initial wash of yellow inthe sky, a mixture of Cerulean Blue creates a dominant, unifying markacross the paper.

Rainforest. The Tree on Top | Heleen Cornet

34” × 44” (86cm × 112cm)

Transparent watercolor on canvas

Watercolor for Wet RainforestI live on the small island of Saba in the Caribbean Sea, with its magicalmossy rainforest at its top. Surrounded by the sounds of birds, drippingwater and wind, I can paint the whole day. It is muddy, often cold and verywet, but the light and colors are amazing. This painting is based on studies Imade on the top of the mountain. The watercolors float and work forthemselves. Since rainforests and watercolors are based on the sameelement—water—there is a perfect match.

A Walk in the Woods | Catherine Hearding

25” × 21” (64cm × 53cm)


Pulled Branches With ColorThe contrast of light and shadow on the snow was the inspiration for thispiece as I took a walk with my camera to capture the details. Theforeground shadows were poured using three colors (Cobalt Blue, Winsor

Red and Winsor Blue). To create the branches, I drop a pool of color ontothe paper and drag the watery color out with the tip of a palette knife intobranch shapes. While the pools are still very wet, I drop other colors intothem and let the colors mix freely.

Haukeli3 | Oddvar Wold

19” × 13” (48cm × 33cm)


Patient Layering for Brilliant FallColorsThis watercolor is one of several I painted in my studio after a trip to themountains in October. The whole mountain was in brilliant fall colors with a

little mist over the top. This scene gave me what I like best: light, color,scale and especially drama. Using wet-into-wet and wet-on-dry techniques,I put on layer after layer to build up the light, color, shadow and contrast.The picture shows one of the old hotels in the mountains between westernand eastern Norway. The hotel is no longer in service.

Taos Shadows 2 | Mark E. Mehaffey

21” × 29” (53cm × 74cm)


Don’t be Afraid to Push Your ColorsMy wife, Rosie, and I were vacationing with friends, and the day we visitedthe Taos Pueblo it was totally cloudy. I could see the potential for dramaticshadows, but they just were not there. The next morning was bright andsunny, and I made the whole group take me back to the Pueblo. I spent twohours getting the reference photos I needed. However, when I viewedthem, the strong New Mexico sun had bleached out the warm color of theadobe. So back in my studio I took the liberty to “push” both the light anddark contrast and the saturation of the color.

Reckoning | Jonathan Frank

19” × 27” (48cm × 69cm)

Watercolor and India ink on 140-lb. (300gsm) cold-pressed Arches

Painting the Smell of a StormThis painting was born the moment I stepped to the edge of this awesomecliff in Canyonlands National Park, Utah, and smelled the thunderstorm inthe distance. My challenge was to create an atmosphere with the highest

sense of drama and emotion. Deepening the colors in the distance it focusesthe light on the foreground—the here and now. I particularly like the notionthat one doesn’t know if the storm is coming or going.

Blue Winter Morning | Sachin Naik

20” × 15” (51cm × 38cm)


Accurate Drawing is Foundation ofColorBlue Winter Morning was painted on location on the university campus ofmy city, Pune. This landscape was mostly painted with a wet-into-wetmethod and a few simple washes after doing an accurate drawing on-site. Adetail study sketch was done before beginning working with color. Thismonochromatic landscape had a very interesting glowing light on the wallswith a wonderful, cool blue feel everywhere due to the cold season. No

masking or opaque white was used.

I have found the wet-into-wet method with free flows to be the best method for watercolor.

—Sachin Naik

Sun Strokes & Rain Fall | Jean K. Gill

22” × 30” (56cm × 76cm)


Vertical Painting EncouragesDirectional EnergyMy paintings incorporate abstractions derived from simplifications orexaggerations of my photographs. Working with my paper vertical allowsgravity, with some misting, to facilitate downward flow. This fluid processencourages granulation, spontaneous mixing and soft edges, and I retainthe directionality and energy of moving paint in the finished work. I plancolors in advance but leave opportunities for improvisation, a strategy withoptions. To infuse this work with contrast and drama, I imagined andoveremphasized the impact of a sun shower, wetting and intensifyingautumnal color. I enhanced backlighting, inventing sunbeams by lifting them

from dry paint.

Above the Firmament | Manette W. Fairmont

22” × 22” (56cm × 56cm)


Primitive Shapes Combine WithLuminous LightMy subject is the primitive landscape shapes and Mexican architecturedistinctive to the Sonoma Valley. An awareness of abstract design throughconceptual ideas permeates my work. I very often paint outdoors to capturemy emotional response to the vivid color and luminous light. To this end, I

will glaze transparent color over opaque color for depth, or place muddycolors next to clear washes of pure transparent paint to create the vibrancyof contrast. I am inspired by Mexican folk art and the work of Hockney. It ismy creative desire to bring a new dynamism to folk art, another way toappreciate light and color.

Roots and Stems | Janet Nunn

21” × 29” (53cm × 74cm)

Watercolor on 300-lb. (640gsm) cold-pressed Fabriano Artistico

Capture the Brilliant Intensity ofFirst SnowA foot of snow, our first of the season. The sun outside the window of mystudio was magnifying the brilliant white of the snow and creating ashowcase for color. My challenge was to capture this feeling of intense light,shadow and color in a simple and natural way. Focusing first on theoranges, yellows and reds, I moved the paint with a straw cut like a brushto emulate the thin lines of the stems and added the roots with a darkerCobalt Violet. With the roots in place, I painted the stark stalks of the aspentrees and brought more realism to the painting. The finishing touch was theaddition of the blue shadow, mimicking the roots and stems and providing

balance.

A great painting is more often the result of an enjoyable journey than a planned process.

—Janet Nunn

Tahoe Rocks | Ming Franz

28” × 22” (71cm × 56cm)

Splash ink with watercolor on rice paper

Chinese Splash Ink With WatercolorThe inspiration for this painting came from frequent family vacations toSouth Lake Tahoe, California, where our kids would climb the rocks. Istarted with an ancient Chinese method called “splash ink with watercolor.”I splashed Asian black ink on a few sheets of rice paper, followed withprimary watercolors: blue, red and yellow in sequence. The ink andwatercolors merged. When the sheets were dry, an abstract form was

revealed. I picked my favorite sheet and looked at it turned all four ways,letting the color speak to me. This dried sheet was very dark, so I used apalette knife to apply opaque white watercolor on the left side of the darkareas to create rocks with the light coming from the left side. I then addedthe trees and other details using conventional watercolor and Chinese brushpainting techniques.

Blue Taxis – Japan | Nancy Fortunato

8” × 12” (20cm × 30cm)


Stretch Paper for GlazingJapanese cab signs are so imaginative and very eye-catching. At night thestreets of Kyoto are pure cascades of colorful lights. My vivid memories ofour travels, along with my photographs, helped in capturing the exciting citylights. Blue Taxis – Japan has more than twenty glazes of severaldifferent blues including Peacock Blue and Pthalo Blue—and no tube blackfor the intense darks. Stretching my paper allows me to glaze over colorwithout having to use a hair dryer to keep the paper from buckling. I did notuse masking fluid for whites, but simply painted around the light areas. Iuse only kolinsky sable hair brushes to apply a glaze, as the hair of thebrush does not lift the undercolor as most synthetic brushes do.

The Path | Dean Shelton

14” × 11” (36cm × 28cm)

Transparent watercolor on 140-lb. (300gsm) Arches paper

Lots of Sketches and SeveralPaintings Later …This lighthouse is located on the Oregon coast. As my wife and I weredriving up the coast to visit family, we stopped to spend the night. I could

see the lighthouse as the evening sun poked through the holes in the darkclouds. I grabbed my camera and ran to capture the scene. I laterexperimented with composition and color. I did a lot of sketches and severalpaintings of the lighthouse in both watercolor and oil. The path was addedlast using a heavy concentration of Cadmium Orange on top of the still-wetdark foreground.

8

People in Motion and Emotion

Tales of the North Fork | Susan Montague

15” × 22” (38cm × 56cm)

Transparent watercolor on 300-lb. (640gsm) hot-pressed Arches

At a Mountain Man Rendezvous in the foothills of Denver, I witnessed thispassionate storyteller. The light was high and strong, casting interestingshadows across his face and clothing. Working from my black and whitephoto, I chose a palette and techniques to add texture and a casualelement, mirroring the style and times of the character.

Something’s Biting | Marie Natale

11½” × 18½” (29cm × 47cm)


Push Color to Enrich Skin TonesA friend shared this photo of his grandchildren on a balmy summer day. Iwas instantly drawn to the strong contrasts between the sunlit skin tones onthe boys, the crisp sunlit dock and the deep rich foliage in the background. Ipushed the color, enriching skin tones, brightening the swimsuits andpunching the luminous red-orange of the bucket. I painted the boys first,then achieved the dark background by using thick, rich pigment. I capturedthe brilliant afternoon light by carefully holding onto edges of whitesurrounding the boys, the dock and their fishing poles.

When teaching I encourage students to follow the advice of van Gogh: Capture the essence,leave the obvious vague.

—Marie Natale

Which One? | Keiko Yasuoka

15½” × 22” (39cm × 56cm)


Effect of Two Light SourcesDuring a visit to my parents’ home in Japan, I went to the summer festival,which is always very lively, colorful and jubilant. I had my camera inanticipation of finding painting subjects. Among all the activity, I wasattracted to a little girl trying to decide which ball she wanted to get. I wasespecially fascinated by the two light sources: direct and indirect, butespecially the indirect light reflecting onto the little girl. In order to createthe mood, harmony and light that I desired, I mainly used two pairs ofcomplementary colors, yellow and violet plus orange and blue.

Caribbean Spice | Nancy Near

21” × 21” (53cm × 53cm)


Some Subjects Call for a NewApproachSome subjects cry out to be painted. This crew member on our Antiguasnorkel cruise was one of those. I wanted to capture her joyful energy, and Iknew my usual methods wouldn’t do her justice, so I took a new approach. Icreated space for her powerful personality by using a full sheet of paper (a

first for me). The radiance on her shirt, necklace and face came from aseries of loose, intense washes with my favorite Quinacridone and Phthalocolors. I spent time on her curly locks, lifting out light streaks with a MisterClean Magic Eraser and finally splattered sizzling Caribbean colors withabandon. I emailed a photo of the finished painting to my model, and shewas thrilled.

My Brother’s Keeper | Laurie Goldstein-Warren

30” × 22” (76cm × 56cm)


Light Inspires a City SceneI was in Memphis one morning, photographing the city and the people onthe street. I saw this man crossing the park in a very purposeful way. Hethen crossed the street and slowed his pace. Just as he reached into the citytrash container and pulled some food to his chest, the sun came out frombehind the clouds and I took this photograph. The sunlight gave a glow tohis unkempt curly hair. I knew immediately that this was an image to paint,a story to tell.

Sometimes the beauty of light can last only an instant … be ready.

—Laurie Goldstein-Warren

Mystery Man | r. mike nichols

23” × 17” (58cm × 43cm)


Let Your Inner Child Solve aPainting ProblemI was attracted to this image because of the light reflecting off the glasssurface. But working from a photograph that revealed a collage of confusinginterior and exterior imagery was a challenge. As a kid I adored paint-by-

number kits. Painting in all those small shapes with their correspondingcolors was a task my budding Virgo mind craved. Since the information inmy reference photo for Mystery Man often didn’t make sense, I called onmy childhood experience. I plotted all the shapes, colors and values ontomy paper, very much like creating my own paint-by-number!

Patience | Vanessa Calica Baladad

9” × 12” (23cm × 30cm)


Capture Unique Effects With a ToyCameraLately I like taking pictures with my digital toy camera (as opposed to myexpensive DSLR) because of its charm in making unpredictable distortions tolight and color. Inspired by Jean Grastorf’s pouring technique, I used threeprimary colors plus Burnt Umber to paint this picture of my fiancé waitinghis turn in a martial arts competition. As he waited for almost eight hoursthat day, I was lucky to capture this moment of patience. The camera’sdistorting effects made the ornate carpeting into an almost surreallandscape and brightened the blue painter’s tape. I don’t think the sameeffect would have been achieved if the photo had been taken with a

standard camera.

Remember | Susan Montague

20” × 15” (51cm × 38cm)


Find Special Qualities in YourSubjectAt the Martin Luther King Jr. parade in downtown Denver, the sun was high

and bright on the energetic crowd. This young girl caught my eye as sheseemed more somber, perhaps more in the true spirit of the celebration.Working from my black and white photograph, I chose to keep her colorsfresh and young, yet wanting to capture her serious, distant expression.

Meadow’s Edge | Susan Montague

22” × 22” (56cm × 56cm)


Hands Express Personality TraitsThis young man was part of the Mountain Man Rendezvous in the foothills ofDenver. I was drawn to his unusual body language as he paced throughoutthe meadow by himself. After watching him, I realized he was possiblyautistic. At the campsite I caught this picture. His delicate hands seemed tomirror the sensitivity in his face. The strong, high light supplied beautifulshadows on his face and clothing, and I chose to keep his face and hands

pale to portray his vulnerability.

California Grandpa | Lynda A. N. Reyes

29” × 21” (74cm × 53cm)


Colors Create Visual DramaCalifornia Grandpa was painted in my studio after a study of a crowd atan art fair. I chose transparent watercolor to capture the vibrant light andcolor interplay. Cadmium Orange and Yellow evoke colors of California

poppies. The intense orange illuminating the man’s shirt and the warmYellow Ochre of the bags, set against the cool hues of the surroundingfigures, woo the viewer to partake of the visual drama.

A Walk on Historic Jackson | Marie Natale

15” × 22” (38cm × 56cm)


Apply Juicy Color Quickly andCleanlyWhile painting en plein air, I turned and was struck by this classic Cape Mayscene. A quick photo reference and on-site value study, this scene came tolife later in my studio. The radiant light of this early morning scene camealive by focusing on the strong relationship between the light and darks. Iachieved strong contrasts cleanly and quickly by applying juicy, rich coloronto dry, unstretched cold-pressed paper. With an upright easel and largesable rounds, I invited my color to blend and run together, achieving loose,luminous and colorful results. I love the challenge of holding onto crispwhites for a sun-kissed effect without the use of masking fluids.

Sidewalk Raphael | Kris Preslan

22” × 16” (56cm × 41cm)


Breathe in the Artistic Air of ItalyFlorence, Italy: where the Tuscan cerulean sky merges with the terra cottacolors, the siennas and umbers of the local earth. Among the background oflight-hearted carousel music on the Piazza della Repubblica, and thelaughing and shouting of the passers-by, the footsteps slow to a stop, coins

drop into a basket, as people marvel at the student artist’s re-creation ofthe art of the Old Masters, beloved for over 500 years. The chalk art isadmired and appreciated, then lost with the next rain. What an inspiration!

The Professor | Deborah Swan-McDonald

13” × 18” (33cm × 46cm)

Transparent watercolor with charcoal pencil and rice

paper collage on 140-lb. (300gsm) cold-pressed paper

Lighting Echoes CharacterOne of my students brought her cousin to visit the watercolor class I teach.He had been a professor at a university and had partaken in manyadventures. As he stood by a window in the classroom, the light createddramatic rim lighting on his face, so I took a quick photo. Later, when doingthe painting, I saw that the lighting could help portray the thoughtfulcharacter of my subject. I also took a risk and decided to integrate charcoalpencil into the painting. First I put in a sketchy charcoal drawing. Next Ipainted with transparent watercolors using limited colors with an emphasison value. Finally I added some rice paper collage to give a rougher texture

to the wall.

Survivor | Christine Misencik Bunn

14¼” × 16½” (37cm × 42cm)


Light/Dark Contrast Expresses HopePerhaps this portrait is the most deeply felt of all my work. I wanted tomake a statement about my model’s courage, so my palette choices wereprimary colors emphasizing the reds. I mixed nuanced red washes andlayered them in, considering value, intensity and temperature. Seated in thesunshine on the back step, the dark glass on the door encompassed themodel’s bald head like a halo, while the warm sun emphasized her palefacial color. My goal was for the viewer to experience, through the use ofdark/light contrast, my subject’s illness giving way to healing through the

brightness of the sunlight. The model is my daughter, Britney, a two-timecancer survivor.

An Ancient Tune | Fealing Lin

21” × 15” (53cm × 38cm)

Transparent watercolor on 300-lb. (640gsm) hot-pressed paper

Peachy Warmth Inspires RelaxationAlthough I found my model at the local renaissance fair, this image couldhave stepped right out of an ancient time. I painted An Ancient Tune insuch a saturated peachy light with the hope that the viewers would be sorelaxed in the warmth that they might hear a lovely old tune. The delicate,sensitive surface of 300-lb. (640gsm) hot-pressed paper makes me feel like

I’m bathing a baby. It receives multiple layers of glazing very well. Twosecrets for glazing: make sure that (1) the paper is completely dry betweenlayers, and (2) the tonal value of the layers remains very light.

Breaktime | Jimmy Tablante

11¼” × 15 1⁄8” (29cm × 38cm)

Watercolor on 90-lb. (190gsm) Fabriano watercolor paper mounted onfoamcore board

Blurring of Over-EnlargementEnhances SceneOne bright, sunny day, I noticed a group conversing on a patch of grass nearthe corner of King and Bishop Streets in Honolulu. The deep emotive colorscombined with the strong contrast and interesting environment made it aperfect painting subject. I took a quick picture with my cell phone andheaded straight to the print shop. I loved how the blur effect on the largeprint enhanced the beauty of the scene. I was quite inspired! I started on itthat night and painted with clear focus until dawn. Finished! Though I hadused only watercolors, to my surprise the painting looked like oils or acrylic

due to the light and shading. Thanks is due my fellow artists whoencouraged me to submit this to the Splash 14 competition.

Brothers In Arms | Kim Johnson

30” × 22½” (76cm × 57cm)


Lose Edges to Connect ForegroundWith BackgroundTwo brothers walking arm in arm and playfully kicking up their heels on asummer day was inspiring. I paint from a black and white print for tworeasons: I like to work out the composition on my computer before I print it,

and I don’t want to be influenced by the colors of the photo. Leaving thebackground white caused a dilemma about where and how to lose edgeswhile connecting foreground with background. I changed clothing color andvalue, then used transparent watercolor and glazes for the shadows, losingedges within and between the figures.

Catch of the Day | Anne Chaddock

30” × 22” (76cm × 56cm)


Colors Play the Music of a SceneOne of my students gave me the photograph of her husband and his friendsfly-fishing. The body language and movement of the figures combined withthe movement of the water made constant music to me. Soft Cobalt Blue isthe basis and local color for the painting. Permanent Rose and CadmiumYellow Light complete my color wheel, with Transparent Red Oxide and

Winsor Green for earthy greens and neutrals. All of the painting wasapproached wet-on-dry constantly softening each brushstroke to make sureI saved my whites.

Honeymooner | Kim Johnson

15½” × 15” (39cm × 38cm)


Glazes for Multicolor ShadowsHoneymooner was inspired by a photo of a man on his honeymoon whocoincidentally was wearing a Honeymooners T-shirt! His sunglasses and hatleft him nearly entirely in shadow, but I loved how the strong cast shadowssharply defined his face and shoulder. Rather than use a typical gray palettefor the shadows, I contrasted the white background with color to convey the

very sunny day. Using transparent watercolor and glazes helped me achieveall the different colors in his beard, face and shirt.

The Storyteller | Annelein Beukenkamp

15” × 22” (38cm × 56cm)

Transparent watercolor on 140-lb. (300gsm) soft-pressed Fabriano Uno

The Spark of Excitement for YourSubjectThe spark has to be ignited right from the beginning, whether it is in thecolor, shape, emotional connection, memories or something else about yoursubject. The Storyteller lit that spark for me. I spotted him at a sunnysidewalk café animatedly recounting his tales. With the dramatic lighting onhis face and clothes I knew I would have something to work from back inmy studio. The background colors are imagined—an assortment of hues thatcomplement his skin tones. I enjoy loose and flowing pigments with abalance of soft and hard edges, warm and cool colors, and bright andneutral shades.

Girl in Motion | Ted Nuttall

14” × 12½” (36cm × 32cm)


Yellow Adds Essential EnergyAt the Martin Luther King Jr. Day parade in downtown Denver, Colorado, Istood facing the mass of marchers and photographed into the crowd offaces passing by. When I had time to study my efforts, I was riveted by thispowerful frame. The young lady’s direct and purposeful expressionrepresented to me the essence of the present generation’s affinity for the

great figurehead they were celebrating and the cause for which he stood. Iwas very purposeful with my painting process to speak to the essence of thetitle both in capturing the light and the impression of loose spontaneity. Myuse of yellow permeating the composition added an essential energy to thestory as well.

Contributors

Kathleen Alexander

WW, NWWS

P.O. Box 300, Pacifica, CA 94044

650.455.0998

[email protected]

kathleenalexanderwatercolors.com

Village Gallery, Lahaina, Maui

Abundance

Yellow Hibiscus

Jennifer Annesley

BFA, CSPWC

[email protected]

annesleystudio.com

Canada House Gallery

Pantheon

Teatro

Jan Archuleta

CWS, NWS

7148 Orchard St., Arvada, CO 80007

303.403.1047

[email protected]

janarchuleta.com

mailto:[email protected]

http://kathleenalexanderwatercolors.com


http://annesleystudio.com


http://janarchuleta.com

The Marble Gallery, Marble, CO

Healing Echinacea

Second Place, Professional Class—Fall Arts Festival (Regional), GlenwoodSprings, CO

Nancy Baay

2805 S. Ong St., Amarillo, TX 79109

806.374.1070

Butterflies Are Free

Mary Backer

NWS, WW, CAC

1359 Sea Pines Dr., Banning, CA 92220

[email protected]

bodaciousimages.com

Studio Gallery

Encore

Finalist, Watercolor magazine cover, 2009

Hugh Baker

[email protected]

Kayaks

Vanessa Calica Baladad

[email protected]

vanelectro.blogspot.com

Patience


http://bodaciousimages.com



http://vanelectro.blogspot.com

Chris Beck

NWS, TWSA

P.O. Box 1661, Los Altos, CA 94023

[email protected]

chrisbeckstudio.com

Waiting in the Wings

Graham Berry

38 Tarragon Drive, Blackpool, LancashireFY2 0WJ, United Kingdom

+44 01253 592636

[email protected]

grahamberrystudio.com

Lytham Cocklers

Annelein Beukenkamp

P.O. Box 5774, Burlington, VT 05402

abwatercolors.com

The Storyteller

Karen Fletcher Braverman

GWS

3551 Fairfax Ln., Davie, FL 33330

954.257.5564

[email protected]

Papaya


http://chrisbeckstudio.com


http://grahamberrystudio.com

http://abwatercolors.com


Best in Show, Lillian Feldman Award—Goldcoast Watercolor Society “TheBeauty of Transparency Show”

First Place, Miami Watercolor Society, 39th Annual Exhibit

Christine Misencik Bunn

OWS

109 Ebersole Ave., Fredericktown, OH 43019

740.485.2894

[email protected]

Creative Images, Mount Vernon, OH

Survivor

Juror’s Award, 32nd PWS Annual Juried Exhibition

Peng Cao

ASAA

2755 Country Dr. #139, Fremont, CA 94536

510.713.9830

[email protected]

Ancient Waterway

Anne Chaddock

NWS, AWS, VWS

P.O. Box 29431, Richmond, VA 23242

804.512.0319

[email protected]

annechaddock.com




http://annechaddock.com

Sole Mates

Catch of the Day

Sole Mates—First Place, Catherine Lorillard Wolfe Art Club, NY

Kathy Collins

NWWS

[email protected]

kathycollinswatercolors.com

Kaewyn Gallery, Bothell, WA

After the Rain

Jaimie Cordero

FWS, SDWS, MWS

Aquarelle Studios & Galleries, Inc.

P.O. Box 565658, Pinecrest, FL 33256-5658

786.303.5293

[email protected]

aquarellestudiosandgalleries.com

Greenwich Park Rhodies

Heleen Cornet

SAF

Troy Hill, The Bottom, Saba, DWI

599.416.2708

[email protected]

heleencornet.com


http://kathycollinswatercolors.com


http://aquarellestudiosandgalleries.com


http://heleencornet.com

Peanut Gallery, Saba

Rainforest. The Tree on Top

Special Mention, Triennial International of the Caribbean, 2010

Brenda Cretney

61 Mission Hill, Brockport, NY 14420

[email protected]

Three Horses

LaVonne Tarbox Crone

AWS, NWS

2825 Ione Ave., Eugene, OR 97401

541.687.1727

[email protected]

tarboxcrone.com

Portland Art Museum Rental Sales Gallery

Recycle

Susan Crouch

WSNC/S, TWSA

631 Dogwood Rd., Statesville, NC 28677

704.287.7697

[email protected]

susancrouch.com

Corbi

Cristina Del Sol



http://tarboxcrone.com


http://susancrouch.com

OMMA

[email protected]

cristinadelsol.com

cristinasdailypaintings.blogspot.ca

Cosmic Dancer

Richeson Merchandise Award, 3rd Annual ISAP International Open OnlineShow

Frank Eber

NWS, TWSA

California

[email protected]

frankeber.com

City of Light, Paris

Dordogne River Valley View

Dordogne River Valley View—Alden Bryan Memorial Award, AWS 2012 145thAnnual Exhibition

Linda Erfle

AWS, NWS, WW

2723 Ivy Knoll Dr., Placerville, CA 95667

530.622.2210

[email protected]

lindaerfle.net

Highlight Gallery, Mendocino, CA


http://cristinadelsol.com

http://cristinasdailypaintings.blogspot.ca


http://frankeber.com


http://lindaerfle.net

Milk Goats of Saanenland

Swiss Cow

Manette W. Fairmont

NWS, WW, MCWA

447 First St. W., Sonoma, CA 95476

707.996.2667

[email protected]

fairmontgallery.com

Fairmont Gallery

Above the Firmament

Nancy Fortunato

TWSA/S, NWS, TWS/S

249 N. Marion St., Palatine, IL 60074

847.359.5033

[email protected]

watercolorart.net

Blue Taxis – Japan

Jonathan Frank

NWS

[email protected]

jonathanfrankstudio.com

Reckoning

Ming Franz


http://fairmontgallery.com


http://watercolorart.net


http://jonathanfrankstudio.com

NMWS

5 Estrella Vista Dr., Edgewood, NM 87015

505.281.4956

[email protected]

mingfranzstudio.com

New Mexico Art League

Tahoe Rocks

Honorable Mention, NMWS Show

Michiyo Fukushima

31-26 34th St., #16, Astoria, NY 11106

646.552.4538

[email protected]

michiyoart.com

Fischbach Gallery

Minerva – G.C.T.

The Anna Hyatt Huntington Bronze Medal in Watercolor, Catharine LorillardWolfe Art Club 114th Juried Show

Carla Gauthier

NWS, CSPW

2007 Walnut Green Dr., Houston, TX 77062

281.384.2473

[email protected]

carlagauthier.com


http://mingfranzstudio.com


http://michiyoart.com


http://carlagauthier.com

Upper Bay Frame & Gallery, Nassau Bay, TX

Waiting for the Lunchtime Crowd

Charlene Gerrish

NWS, WW, WHS

Aptos, CA

[email protected]

watercolorgallery.com

Steam’n the Roundhouse

Jean K. Gill

AWS, NWS

[email protected]

jeankgill.com

Sun Strokes & Rain Fall

Stuart Givot

1548 Maple St. Berth 32, Redwood City, CA 94404

650.576.7023

[email protected]

Redwood Creek, Collection of Mr. and Mrs. Terry Fancher

Laurie Goldstein-Warren

NEWS, PWS, TWS

RR#4 Box 558-C, Buckhannon, WV 26201

304.472.1414

[email protected]


http://watercolorgallery.com


http://jeankgill.com



warrenwatercolors.com

My Brother’s Keeper

Chosen for Travel Exhibit, Adirondacks Exhibition of American Watercolors,2011

Don Gore

MOWS

13408 E. Kentucky Rd., Independence, MO 64050

816.254.7451

[email protected]

Wicked

Award of Distinction, Watercolor Missouri National, 2010

Elizabeth M. Hamlin

FWS, CWA, NWWS

1073 Arrowhead Rd., Camano Island, WA 98282

360.387.7128

[email protected]

Metaphor #6

Catherine Hearding

WHS

9901 Tapestry Grove, Lake Elmo, MN 55042

651.777.8158

[email protected]

chearding.com

http://warrenwatercolors.com




http://chearding.com

A Walk in the Woods

Cathy Hegman

AWS, NWS, MSWS

P.O. Box 126, Holly Bluff, MS 39088

662.828.3431

[email protected]

cathyhegman.com

TEW Gallery

Chaos of Commitment

Catherine Hillis

SW, PW, BWS

P.O. Box 41, Round Hill, VA 20142

703.431.6877

[email protected]

catherinehillis.com

ArtSquare, Leesburg, VA, loudounartsquare.org

My Perspective

Karin Isenburg

CSPWC

54 White Cliffe Dr., Courtice, ON, Canada, LIE-ITZ

905.432.7032

[email protected]

karinisenburg.com


http://cathyhegman.com


http://catherinehillis.com

http://loudounartsquare.org


http://karinisenburg.com

Collection of the Peel Art Gallery, Brampton, ON

Clementines

Selected for the Diploma Collection of theCanadian Society of Watercolour Painters

Jeanne R. Johnson

NWS, BWS

2803 West Rosegarden Blvd., Mechanicsburg, PA 17055

Home: 717.697.0410

Cell: 717.303.9132

[email protected]

jjohnsonwatercolors.com

Glimpse

Kim Johnson

AWS, NWS, WW

3744 E. Joan de Arc, Phoenix, AZ 85032

480.251.6442

[email protected]

kj-art.com

Brothers In Arms

Honeymooner

Kristina Jurick

Hoehenstrasse 12, 91227 Leinburg, Germany

[email protected]


http://jjohnsonwatercolors.com


http://kj-art.com


jurick-art.de

Fishmarket, Venice

Jean Kalin

TWSA, WCWS/M, MOWS

20650 Highway 371, Platte City, MO 64079-9344

816.992.3744

[email protected]

Jean Kalin Art Studio and Gallery, Platte City, MO

Morning Glow

Chizuru Morii Kaplan

[email protected]

chizuruart.com

Paris

Fahmi Khan

SLAA, TAEA

[email protected]

fahmikhan.com

Blue Raven

Charlotte Knox

charlotteknox.com

42nd Street Pizza, New York

Steven Kozar

[email protected]

http://jurick-art.de



http://chizuruart.com


http://fahmikhan.com

http://charlotteknox.com


stevenkozar.com

Ripening Pumpkins

Marie Lamothe

5964 S. Bestie River Rd., Interlochen, MI 49643

231.276.9858

[email protected]

marielamothe.com

Bier Art Gallery, Charlevoix, MI

Beauty Beheld

Finalist, Blossom II—Art of Flowers: An International Art Competition &Museum Exhibition

Robert Leedy

3750 Vickers Lake Dr., Jacksonville, FL, 32224-8429

904.401.2904

[email protected]

robertleedyart.com

Ocean and Ahern

Christopher Leeper

OWS

4411 Mellinger Rd., Canfield, OH 44406

[email protected]

christopherleeper.com

Charlotte Fine Art Gallery, Charlotte, NC

http://stevenkozar.com


http://marielamothe.com


http://robertleedyart.com


http://christopherleeper.com

Big Baby Beef

Donna Lesley

859 Honey House Ln., Corvallis, MT 59828

406.961.1942

[email protected]

Mr. Daly’s Roses

Fealing Lin

NWS, WW, TWSA

1720 Ramiro Rd., San Marino, CA 91108

626.799.7022

[email protected]

fealingwatercolor.com

Morning Cyclist

Night in Dresden

An Ancient Tune

Zhangou Liu

Room 604, No. 460, Guangzhong Road, Shanghai, China

13818916446

[email protected]

Shanghai Rainy Day

Ross Lynem

4512-26 Street NW, Calgary, Alberta, Canada

403.837.3182



http://fealingwatercolor.com


[email protected]

rosslynem.com

Ruberto Ostberg Gallery

Meana

Robin Lee Makowski

772.263.2587

[email protected]

rlmart.com

Another Round of Primaries

Award of Merit, Florida Watercolor Society Online Show, 2012

Accepted into Western Federation of Watercolor Societies 2012 Show, LasVegas, NV

Antonio Masi

AWS/DF

121 Brompton Rd., Garden City, NY 11530

516.455.6601

[email protected]

antoniomasi.com

Exodus

Paul Mason

1209 Jenifer St. #2, Madison, WI 53703

608.255.8567

[email protected]


http://rosslynem.com


http://rlmart.com


http://antoniomasi.com


paulmasonwatercolors.com

Lions on the Avenue

Dave Maxwell

NWS, WFWS, WASH

817.279.3700

[email protected]

Going Green

First Place, Society Watercolor Artists

People’s Choice, New Mexico Watercolor Society

Laurin McCracken

AWS, NWS, TWSA

215 N. Deer Creek Dr. W., Leland, MS 38756

817.773.2163

[email protected]

lauringallery.com

Southside Gallery, Oxford, MS

Clear Glassware

Mark E. Mehaffey

AWS/DF, NWS, TWSA/S

5440 Zimmer Rd., Williamston, MI 48895

517.655.2342

[email protected]

mehaffeygallery.com

http://paulmasonwatercolors.com



http://lauringallery.com


http://mehaffeygallery.com

Taos Shadows 2

Doug Meythaler

MWS/S

1409 Gettysburg Ave. N., Golden Valley, MN 55427

763.595.9665

[email protected]

mnartists.org/Doug_Meythaler

Doug Meythaler Studio on Facebook

Gawkers S john Street, lowdown

Honorable Mention, Minnesota Watercolor Society’s 2011 Spring JuriedExhibition

Susan Montague

AWS/S, NWS/S, WFWS/S

7305 S. Platte River Pkwy., #104, Littleton, CO 80120

[email protected]

montaguearts.com

Tales of the North Fork

Remember

Meadow’s Edge

Tales of the North Fork—Second Place and Patron’s Purchase Award, KansasWatercolor Society National Exhibition, 2011

Remember—Award of Merit, Western Federation of Watercolor Societies37th Annual Exhibit, 2012

Meadow’s Edge—2010 NWS 90th Annual Exhibition, 2010-11 Traveling


http://mnartists.org/Doug_Meythaler


http://montaguearts.com

Exhibition

Meadow’s Edge—2012 AWS 145th International Exhibition; Dong KingmanAward; 2012-13 Traveling Exhibition

James Scott Morrison

NWS/S, ASAA

792 Fairgate Dr., Hendersonville, NC 28739

828.697.8465

[email protected]

morrisonart.com

4 Canoes at Kanuga

2011 Artistic Excellence, Southwestern Art Magazine

Ran Mu

MWS

[email protected]

maggiemou.com

After Shower

Finalist, Midwest Regional Collegiate Fine Art

Legislature Show for Michigan House of Representatives

Sachin Naik

B 39/40 Rajarshi Shahu Socty., Natu Baug, opp. Rawat Brothers, Pune-Satara Road

+91 9860419178

[email protected]


http://morrisonart.com


http://maggiemou.com


sachinnaik.com

Blue Winter Morning

Judy Nakari

SAWG, CWS, TNSW

31853 Ponderosa Way, Evergreen, CO 80439

520.682.8004

720.626.5672

[email protected]

nakari.com

Shadows of the Tuscan Sun

Best of Show, 2011 SAWG Annual

Marie Natale

NJWCS, PWCS

26 Diamond Dr., Egg Harbor Township, NJ 08234

609.214.9905

[email protected]

marienatale.com

SOMA NewArt Gallery, Cape May, NJ

Something’s Biting

A Walk on Historic Jackson

Nancy Near

22085 Linda Vista Place, Cupertino, CA 95014

408.865.1005

http://sachinnaik.com


http://nakari.com


http://marienatale.com

[email protected]

nnearart.com

Caribbean Spice

Alfred Ng

502-176 John Street, Toronto, Ontario, Canada M5T 1X5

416.596.7918

[email protected]

alfredng.ca

Parrot Tulip With Blue

r. mike nichols

AWS, NWS, WW

4648 Ladera Ln., Riverside, CA 92501

951.686.4099

[email protected]

mnico.weebly.com

Mystery Man

Best of Show, 2011 Dominick Frascella Exhibition

Janet Nunn

CWS

21531 Main Ave., Golden, CO 80401

303.704.2052

[email protected]

janetnunnwatercolors.com


http://nnearart.com


http://alfredng.ca


http://mnico.weebly.com


http://janetnunnwatercolors.com

Roots and Stems

Ted Nuttall

AWS, NWS, TWSA

4225 N. 36th St., Unit 34, Phoenix, AZ 85018

602.253.1605

[email protected]

tednuttall.com

Girl in Motion

Kris Parins

SW, FWS

Townsend, WI

715.276.9476

Sarasota, FL

941.266.5285

[email protected]

krisparins.com

Floaters

First Place, Florida Suncoast Watercolor Society

Sue Pink

NWS, SW, FWS

P.O. Box 366733, Bonita Springs, FL 34136

[email protected]

suepink.com


http://tednuttall.com


http://krisparins.com


http://suepink.com

The Secret of the Old Clock

NWS Traveling Show, 2010

Kris Preslan

NWS/S, TWSA/S, WWITS

17841 Lake Haven Dr., Lake Oswego, OR 97035

971.285.0918

[email protected]

preslanart.com

Portland Art Museum RSG

Sidewalk Raphael

Accepted NWS, TWSA

Lynda A. N. Reyes

NWS, WW

Glendale, CA 91206

[email protected]

lyndaanreyes.com

California Grandpa

Dorrie Rifkin

TWS, BWS, NEWS

31 Regency Circle, Englewood, NJ 07631

201.913.1140

[email protected]

dorrierifkin.com


http://preslanart.com


http://lyndaanreyes.com


http://dorrierifkin.com

Across the Street From Grand Central, NYC

William Rogers

CSPWC, TWSA, SCA

4 Carter Crescent, Antigonish, N.S., CanadaB2G 258

902.863.6797

[email protected]

williamrogersart.com

Lyghtesome Gallery, Antigonish, N.S., Canada

Go

John Salminen

AWS/DF, JWRIC, AWI

johnsalminen.com

The Stremmel Gallery, Reno, NV

The Mall

Market Street

The Mall—First Place, Transparent Watercolor Society of America SkyledgeAward, 2012

Market Street—CFS Medal, American Watercolor Society, 2012

Prafull B. Sawant

ASI, BASI

31, Chitrangan Bungalow, Shiv Colony, Vanvaibhav, Indira Nager, Nasik—422009, (MS), INDIA

+91-9860745385, 9766311965


http://williamrogersart.com

http://johnsalminen.com

[email protected]

[email protected]

prafullsawant.com

Holy Morning at Nasik Ghat

Mirror of Sky

Holy Morning at Nasik Ghat—First Award, Istanbul Watercolor Society,Istanbul, Turkey, May 2012

Holy Morning at Nasik Ghat—The Artist’s Magazine All-Media ArtCompetition, OH, USA, May 2012

Thomas W. Schaller

AWS, NWS, NWWS

2111 Glencoe Ave., Venice, CA 90291

310.390.4630

[email protected]

thomasschaller.com

Rshanna Gallery

Concrete Factory – Vancouver

Patricia Schmidt

NWWS, WSO, CPSA

1038 N.E. 76th Ave., Portland, OR 97213

[email protected]

patriciaschmidtart.com

Portland Art Museum Rental Sales Gallery



http://prafullsawant.com


http://thomasschaller.com


http://patriciaschmidtart.com

Year of the Rabbit

F. Charles Sharpe

AWS, ASMA

4617 Reigal Wood Rd., Durham, NC 27712

919.477.1360

[email protected]

Painted With a Roller

Dean Shelton

TNWS, The Chestnut Group, AWS

7632 Cumberland Dr., Fairview, TN 37062

615.799.0409

[email protected]

deansheltonfineartist.com

Richland Fine Art

The Path

Penny Thomas Simpson

NMWS, NWS

326 McClure Rd., Las Cruces, NM 88005

575.921.4028

[email protected]

pennyartworks.com

Weems Gallery, Albuquerque, NM

Real Cherries



http://deansheltonfineartist.com


http://pennyartworks.com

Kay Smith

SWS, TWS, WFWS

800 Caprock Dr., Big Spring, TX 79720

Home: 432.263.6466

Cell: 432.213.1153

[email protected]

kaysmith.artspan.com

Brushworks Gallery

Sinatra

Michelle Goll Smith

sketchycharacters.com

Spring Preview

Papillon

Frank Spino

NWS

6777 Ward Pkwy., Melbourne Village, FL 32904

321.722.0424

[email protected]

frankspino.com

Fresh Squeezed

Makin’ OJ

Fresh Squeezed—Beverly Green Memorial Purchase Award, NationalWatercolor Exhibition, 2011


http://kaysmith.artspan.com

http://sketchycharacters.com


http://frankspino.com

Makin’ OJ—Jerry Summers Memorial Award, Florida Watercolor Exhibition,2011

David L. Stickel

AWS, NWS

1201 Hatch Rd., Chapel Hill, NC 27516

[email protected]

davidstickel.com

Afternoon Stroll

Ron Stocke

NWWS, PSGNWP

Everett, WA

425.761.2389

[email protected]

ronstocke.com

Wise Designz Gallery

The Corner Market

Burrard St., Vancouver, BC

Joyce Stratton

Newbern, NC

joycestratton.com

City Art Gallery, Greenville, NC

Absolution V

Susan M. Stuller


http://davidstickel.com


http://ronstocke.com

http://joycestratton.com

NWS, TWSA

2930 Barrow Pl., Midlothian, VA 23113

Home: 804.379.1477

Cell: 804.350.1891

[email protected]

susanstuller.com

Crossroads Art Center, Richmond, VA

But Is It Art

Deborah Swan-McDonald

NWS

23274 Leonora Dr., Woodland Hills, CA 91367

818.472.7082

[email protected]

deborahswan-mcdonald.com

The Professor

Merchandise Award, “Four Faces of VIVA” Juried Show at VIVA Gallery

Second Place, Valley Watercolor Society Annual Juried Show, 2011

Brenda Swenson

NWWS, WW

514 El Centro St., South Pasadena, CA 91030

626.441.6562

[email protected]

swensonsart.net


http://susanstuller.com


http://deborahswan-mcdonald.com


http://swensonsart.net

Schroeder Studio Gallery, Orange, CA

The Castle Green

Jimmy Tablante

HWS

94-1042 Kaiamu St., Waipahu, HI 96797

808.533.6686

808.722.9568

[email protected]

jtdesignsonline.com

Kai Ku Hale Gallery

Breaktime

Suzi Vitulli

Richland, WA

509.628.6656

[email protected]

suzivitulli.homestead.com

Cootchie Coo

Carrie Waller

505 Greystone Blvd., Cabot, AR 72023

843.813.7752

[email protected]

carriewallerfineart.com

Anticipation


http://jtdesignsonline.com


http://suzivitulli.homestead.com


http://carriewallerfineart.com

First Place, Louisiana Watercolor Society, Crescent City Brewhouse Exhibit

FASO Outstanding Watercolor, November 2011

Nancy Walnes

PVW

10555 River Run Ct., Manassas, VA 20112

703.447.8246

[email protected]

nancywalneswatercolors.com

Beaufort Marsh

Wen-Cong Wang

IF., No. 43, Ln. 120, Zhong 3rd St., Xizhi Dist.

New Taipei City 221, Taiwan (R.O.C.)

886.2.8646.2688

[email protected]

wangwencong.com

The Farm

Soon Young Warren

AWS, NWS, TWSA

4062 Hildring Dr. W., Fort Worth, TX 76109

817.926.0327

[email protected]

soonwarren.com

Your Private Collection Art Gallery


http://nancywalneswatercolors.com


http://wangwencong.com


http://soonwarren.com

Harpy Eagle

Lorraine Watry

NWS

7415 Hickorywood Dr.

Colorado Springs, CO 80920

719.291.2748

[email protected]

lwatrystudio.com

Arati Artists Gallery, Colorado Springs, CO

Show’s Over

Judy Welsh

CWA, AAW, Arts of the Covenant

963 Wallace Dr., San Jose, CA 95120

408.268.6501

judywelsh.com

Konbanwa

David Wicks

15726 Double Eagle Dr., Morrison, CO 80465

[email protected]

wicksart.com

Bridge Nymph

Oddvar Wold

NWA


http://lwatrystudio.com

http://judywelsh.com


http://wicksart.com

Stavanger, Norway

[email protected]

livoddvar-watercolour.com

Haukeli3

Richard Eaves Woods

SWS

3672 Hobart Circle, Sparks, NV 89431

775.356.1930

[email protected]

woodsarts.com

Dardanelles Lake

Judges Merit Award, SWS 2011 Balloon Race Show

Keiko Yasuoka

AWS, NWS, TWSA

23 Litchfield Ln., Houston, TX 77024

713.973.2739

[email protected]

2collaboratingartists.com

Harris Gallery

Tulips

My Special Place

Which One?

Tulips—Best of Show, Rio Brazas


http://livoddvar-watercolour.com


http://woodsarts.com


http://2collaboratingartists.com

Tulips—Fritz Weigand Award for Realism, Rocky Mountain NationalWatermedia, Virginia

My Special Place—Nell Storer Memorial Award, AWS

About the Editor

Rachel Rubin Wolf is a freelance editor and artist. She has edited andwritten many fine art books for North Light Books, including WatercolorSecrets; the Splash: The Best of Watercolor series; the Strokes of Genius:Best of Drawing series; The Best of Wildlife Art (editions 1 and 2); The Bestof Portrait Painting; Best of Flower Painting 2; The Acrylic Painter’s Book ofStyles and Techniques; Painting Ships, Shores and the Sea; and Painting theMany Moods of Light. She also has acquired numerous fine art book projectsfor North Light Books and has contributed to magazines such as Fine ArtConnoisseur and Wildlife Art.

Acknowledgments

Thanks is due to all of the artists in this book, whose lives revolve aroundlight and color and who put a little more of each into all of our lives! Thankyou for sharing your techniques and your wisdom with us. I am appreciativeof the time (and money) spent in getting the properly formatted digitalphotos to us. You are a wonderful group of people and artists!

Much gratitude and credit also goes to the editors, designers and staff atNorth Light Books who have attended to the many thankless details neededto make this into a beautiful finished book including production editor Sarah

Laichas, designer Geoff Raker and production coordinator Mark Griffin.

Splash 14: Light & Color. Copyright © 2013 by F+W Media. All rightsreserved. No part of this eBook may be reproduced in any form or by anyelectronic or mechanical means including information storage and retrievalsystems without permission in writing from the publisher, except by areviewer who may quote brief passages in a review. Published by NorthLight Books, an imprint of F+W Media, Inc., 10151 Carver Road Suite 200,Blue Ash, OH 45242. (800) 289-0963. First Edition.

Other fine North Light products are available from your local bookstore, artsupply store or online. Also visit our website at fwmedia.com.

eISBN: 978-1-4403-2093-4

This e-book edition: July 2013 (v.1.0)

http://fwmedia.com

splash 14 - the best of watercolor : light & color

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