5 Must-Know Watercolor Techniques I N S P I R A T I O N • I D E A S • I N S T R U C T I O N

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APRIL 2006

Display until April 10, 2006Laid-back Magnolia (watercolor on paper, 26x20)

by Laurin McCracken

Stunning Realism The secret is in the edges

WhyYou Need a Mentorand How to Find One

Painting Through Pain Tap into the healing powers of art

5 Must-Know Watercolor Techniques

Laid-back Magnolia (watercolor on paper, 26x20) by Laurin McCracken

I N S P I R A T I O N • I D E A S • I N S T R U C T I O N

Stunning Realism The secret is in the edges

WhyYou Need a Mentorand How to Find One

Painting Through Pain Tap into the healing powers of art

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You’d never guess it by looking at his work,but Laurin McCracken is a relative new-comer to watercolor painting. After

spending more than 20 years on the marketingside of architecture firms, he signed up for alocal art class in late 1999. The experience wastransformative, and McCracken soon foundhimself scheduling entire weekends aroundpainting. “I just fell into watercolor,” he says.“People often say how difficult it is; it wasn’t dif-ficult. It was exhilarating.”

Those early highs turned into a dedication tocraft that’s evident in all of McCracken’s work.His highly detailed still life paintings capture alevel of realism that pays homage to the oldmasters, particularly 16th- and 17th-centuryDutch painters.

Coming Full CircleWhile he once lamented all the years he missed outon painting, McCracken now realizes—thanks to anudge from a friend—that his current work is theproduct of all his life experiences. His interest in

drawing dates back to child-hood when his mother broughthim stacks of paper and pencilsduring a period of isolation while he battled polio.That early love for art eventually led him to archi-tecture school, and he spent the first decade of hiscareer on the design side of the business.

In the mid-’70s, McCracken switched to themarketing side, and his career took him all overthe world. He’s been to Japan 17 times and trav-eled countless miles on airplanes. Lucky for him,all those travels gave him the opportunity to visitgreat museums and see some of the world’s bestartwork in person. McCracken also took asketchbook with him on his trips, taking the timeto recreate the scenes around him on paper. So bythe time he showed up for that first watercolorclass, he’d already laid the foundation for success.

Today, McCracken is the Marketing andStrategies Officer at Looney Ricks Kiss Architectsin Memphis, Tennessee. He’s negotiated a flexiblework schedule to accommodate his art, spendingthree weeks a month in the firm’s office, leaving

Inspiration Strikes ■ When hesaw the light streaming througha dining room window at an innwhere he was staying, McCrackenexclaimed, “There’s a painting!”The detailed rendering of the lace alone in Josephine’s Bed &Breakfast (watercolor on paper,27x20) took 40 to 60 hours ofpainting time.

Learn how Laurin McCrackenconstructs astonishingly realstill lifes with light and shadow.By Michelle Taute

THE

ArchitectureOF DETAIL

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the fourth free for painting. Onweeks when he’s at his traditionaljob, McCracken uses his free timeto get ready for those upcomingdays in the studio. He’ll thinkabout and plan paintings and focuson the marketing side of his paint-ing career.

Planning With CareOne of the most important stepsin McCracken’s painting process iscreating an intriguing still lifesetup. He’ll play with an arrange-ment of objects until it seems justright, drawing sketches and takingreference photos as he experi-ments. In one session, for exam-ple, he put several pieces ofproduce together with some silver,struggling to find a good composi-tion. It wasn’t until he split openan artichoke, revealing the pat-terns inside, that the scene reallycame together.

Once he has a promising image,McCracken takes a digital photo-graph and puts it on his computer.He’ll crop the still life to the sectionhe’d like to paint and manipulatethe contrast until the highlights are

Small Touches ■ “I bought thislace on a trip to Hong Kong,”says McCracken about Fusions(watercolor on paper, 20x18).“Painting the tabletop throughthe lace created another layerof difficulty for me, but theglimpses of the wood surfaceadd interest to the piece.”

Perfect Arrangement ■

The light reflected off thesurface of the silver plategives the pears added vol-ume in Pears and SilverDish (watercolor on paper,11x15).

Ben

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Bennett Digital, Memphis, TN

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Painting Silver and Crystal Step 1: To start, McCracken pro-

jected his reference photo onto a

sheet of watercolor paper, then

traced the image with a mechani-

cal pencil filled with 2H lead. He

was particularly careful to copy a

lot of detail in the reflected images.

Step 2: Using drafting tape and

tracing paper, he masked every-

thing except the background so

he could paint it wet-into-wet.

Step 3: For the backdrop, he used

a mixture of cerulean blue and light

red. When he’d finished painting

the background, he removed the

masking on the objects.

Step 4: McCracken then used a

Masquepen with a micro-point

applicator to save the detailed

highlights essential to making the

silver and fruit look real.

Step 5: Here, you can see in blue

where he masked all the highlights.

Step 6: In this step, he painted the

lemon and pear, including the

places where the fruit was reflect-

ed on the silver and visible through

the crystal bowl.

Step 7: To paint the crystal,

McCracken focused on the reflec-

tions and refraction of light in each

small element of the bowl. For the

silver teapot, he mixed a rich black,

which he used to make a range of

grays.

Step 8: Finally, he removed the

masking fluid and blended the

edges with a stiff, wet brush before

adding details like the pear stem.

Demo of Still Life With Silver,Crystal and Fruit (watercolor onpaper, 9x11)

1 2

3 4

5 6

7 8

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Meet the ArtistLaurin McCracken holds a

Bachelor of Arts and a

Bachelor of Architecture from

Rice University, and a Masters

in Architecture and Urban

Planning from Princeton Univ-

ersity. He’s a signature mem-

ber of the National Watercolor

Society, and his paintings are

in a variety of corporate and

private collections. For more

information, visit his Web site

at www.lauringallery.com.

Order of Things ■ McCrackenoften starts a painting by tack-ling the most challenging sectionfirst. In Oyster Bar (watercoloron paper, 18x18), for example,he recreated the metallic qualityof the aluminum tabletop earlyon. During the process, hemasked off the plate, napkinsand lemons with tape and paper.

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stronger than he’ll actually render them. Next, heprints out a 13x9-inch color copy for referenceand has a 35 mm slide made that he’ll use toproject the still life image directly onto his water-color paper, serving as a guide for an initialrough drawing.

With the drawing in place, McCracken willmove to a table and spend a couple of hours ren-dering the details—everything from highlightsand shadows to the folds in a piece of fabric. “Ifyou’re going to have a really good watercolor, youhave to have a really good drawing,” he says.When it’s time to put paint to paper, McCrackenoften starts with the most difficult object, such asa piece of crystal or silver, or alternately, he’ll beginwith the background. He paints the objects in hisstill life one at a time, moving inch by inch as hecaptures all the details in a teacup or lemon. As heworks, he’ll look at his reference photo, sometimesgoing back to the computer and making anenlarged print of a specific area he’s working on.

Focusing on DetailsShimmering crystal and silver are some ofthe most impressive elements featured inMcCracken’s still lifes. He tackles these difficultobjects as a series of abstract patterns, focusingon light and shadow as he works. McCrackenhas found that crystal and silver consist mostly ofgray shades, and he mixes these colors himselffrom blue and light red. Brighter colors comeinto play in the reflections, where these shim-mering objects pick up interest and depth fromthe things around them. A pear, for example,

might be reflected in the silverdish that’s sitting next to it.

To help him work in somuch detail, McCracken relieson masking. For highlights,he’ll typically use masking fluidto save the white of the paper. Ifit’s a larger highlight, perhapson the side of a teapot, he’ll goback after removing the mask-ing fluid to lift and blend theedges of the paint with a stiff brush. This prevents the cut-out look that can be a dangerwhen working with liquid masking. Anothertechnique he often uses is masking off large areaswith tape and paper. If he’s painting the back-ground, for example, he might cover the rest ofthe still life drawing.

Looking to the FutureWith all this attention to detail, it’s not surprisingthat McCracken’s watercolors have gone frombeing a hobby to a viable second career. “My goalis to retire in a few years and let my painting fundmy retirement,” he says. In addition, he hopes totake two or three trips a year, so he can spend timeeating, drinking and sketching in gorgeous locales.Then he’ll do a series of watercolors based on eachtrip to fund the next excursion. Sounds like theperfect way to make up for lost time.

Michelle Taute is a freelance writer based inCincinnati. Her work has appeared in HOW, USA Weekend and The Artist’s Magazine.

Modern Twist ■ McCrackenadmires the way Old Masters’still lifes tell the story of theirtime. He put the same conceptto work in Teatime with Gravesand Hoffman (watercolor onpaper, 11x24), pairing a teapotset designed by Michael Graveswith a teacup by JosephHoffman. “Graves is a huge fanof Hoffman, which is the reasonI combined objects,” he says.

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“I will make even busy New Yorkers take thetime to see what I see of flowers.”

—Georgia O’Keeffe

To capture the essence of a

flower, I do my homework. I study

books about the flower’s anato-

my to get acquainted with it from

a fresh perspective and to aid

me in portraying it accurately in

my painting.

I love to take flowers that peo-

ple see every day and describe

them in a fresh way. I like to think

that I can see details that the per-

son next to me, upon looking at

the same flower, can’t see.

To save the texture of the

flower and the water droplets on

the petals in Kew Garden Rose,

I masked all the areas that I want-

ed to stay white, then began to

add layers of color, never mixing

more than two colors at a time

so they wouldn’t get muddy and working right over the masking fluid highlights.

When I have a dark background, such as the one in this composition, I

save it for last.

To create the deep blacks that emphasize the light colors of a flower like this

rose, I use a premixed “soup” of Winsor & Newton’s Prussian blue, permanent

alizarin crimson and Holbein’s mineral violet. Then I add other colors, such as

cadmium yellow if I want it to be more opaque, light red if I want it to be warmer,

or quinacridone gold if I want it to be richer.

For a more complete description of Laurin McCracken’s process and to see

more of his work, turn to page 52 for “The Architecture of Detail.”

Kew Garden Rose (watercolor onpaper, 12x18)

By Laurin McCrackenTHIS

Picture

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