The Northwest Watercolor Society New s let te r
November-December 2012
NOVEMBER DEMO ARTIST
Catherine Gill
Montana to conduct some art easy for her to transport it to various workshops there. Cathe is one busy lady locations that might be inaccessible to and loving every minute of it. others. She chooses an interesting site, Cathe loves the outdoors and sets up her easel and does some enjoys plein aire painting, especially thumbnail sketches to determine best early in the morning when her energy design, then she blocks in major shapes, level is at its peak. At a recent outing washes on some paint, layers in with with other artist friends, she said she pastel, and repeats until she is pleased was up at 6:00 AM, down at the lake with the whole effect. Then she does exercising, then doing a 5 x 7 painting some detail for her final step. and taking a swim before breakfast. By Cathe has developed a mixed 9:00 she was heading out the door to media style she calls the Principle of paint for the day. She has a special plein Ooze, which she will be presenting in aire set up where everything, including workshops and on her new the easel fits into one bag, making it instructional DVD. The Principle of
atherine Gill is a warm and dynamic personality who glows with smiles, talent and creativity. At her studio in BCallard, one wall is filled with watercolor paintings from a painting trip to Roslyn, Washington, and another from a recent trip to Maine. And another wall is filled with prints she has made on her own in-studio printing press. Posters on another wall tell of her teaching experiences in China and her adventures with Art on Tap. Nearby is a kiln for the beautiful raku fired tiles she is making. Besides all this she teaches classes and workshops in her studio and elsewhere around the world. Right after my interview she was leaving for
Continued on page 14 Upcoming Membership Meeting November 27, Catherine Gill • There Is No Meeting in December St. Andrew’s Lutheran Church • 6:45 Social Hour • 7:15 Meeting President’s Message
Watercolors will take your breath away. Buy it for the sheer beauty of her paintings or visit her website. Northwest Watercolor Society P.O. Box 50387 Bellevue, WA 98015-0387 www. nwws. org
President: Jeff Waters 425-396-1940 Vice-President: Molly Murrah 425-822-6552 Corresponding Secretary: I am discovering a whole, new Seiko Konya approach to painting. It began in a 206-854-9110 wonderful portrait class taught by Joe Mac Kechnie and Dan Riley. They don’t Recording Secretary: paint features but lay in shadows cast Sheila Mattick on the face. The features emerge. The Now find a portrait photo, 425-454-2546 results are stunning! I highly preferably one with strong side lighting. Treasurer: recommend this class and their figure Don’t cheat by drawing on the features Peggy Meyers class that also incorporates this but it is permissible to place a dot 425-869-0783 approach. where you want the feature to begin and We often think of shadows as the end. Brush in the shadows, varying Attorney: strong, darks extending from the base of them in intensity as they appear in the Darek Linke an object. While valid, this is limiting. photo. Shadows create shape. linke@ newmanlaw.com Call up a photo of an elephant on Shadows are full of color. A black 206-274-2800 the internet. Look at it. Really look at it. shadow is dead upon arrival. Fill your Newsletter Editor: Where is it subtly darker or lighter? shadows with hues including the color Charlene C ollins Freeman Draw or trace a light outline then brush of the surface upon which it rests. [email protected] in the shadowed patches and reserve or Students often paint all shadows Newsletter deadline for the lift out lighter areas to exaggerate Payne’s Gray. This works but add one or January-February edition contrast. You will be amazed! See my more colors to bring it to life. Infuse is December 10, 2012 attempt below. Now try it without the your shadows with color. outline. Start with a charcoal stick if that Join me in breaking out of “draw E-mail your items to seems easier. and fill in the space” by painting [email protected] Hazel Soan is the master of this shadows. (Subject line: NWWS or Hot Press) technique. Her book, African You will be amazed!
Please send new memberships/changes of address to: Accepted Artists Have Shipping Alternative Peggy Meyers P.O. Box 50387 NWWS asks that artists accepted into our exhibitions, who need to ship Bellevue, WA 98015-0387 their paintings to Seattle, use Phoenix Art Restoration and Custom Framing. peg5948@ aol.com For a nominal fee they will receive, uncrate, store, deliver, retrieve, re-crate, and Please send all bills to: arrange return shipment of your artwork. For an additional fee, according to the Peggy Meyers size of your painting, they will take your rolled or flat watercolor painting, mat it P.O. Box 50387 and frame it, and then provide their other services. This is indeed good news for Bellevue, WA 98015-0387 those who have to ship from afar. Now you have a “rent a frame” option! Go to phoenixartrestoration@ hotmail.com or website www. phoenixartrestoration.com.
2 · November-December 2012 Editorial
I’m proud to share with you this latest issue of Hot Press. For this issue, I had the thrill of interviewing one of my all time watercolor heroes, Charles Reid. Inspiring and brilliant, Charles is a delight. Enjoy! A stunning step-by-step article was contributed by Cindy Briggs, with a lot of photos and detailed explanations leading to a beautiful finished watercolor. Thank Letters you to both Charles and Cindy for their EAFA’s generosity in sharing their work and I loved the step-by-step article by inspiring our Hot Press readers! Joe Mac Kechnie in the Also in this issue you will find September/October issue of Hot Press. 37th Annual another reView, brought to you by our Great idea. Great job! insightful digital librarian and past NWWS Best regards, Open Exhibition president, Lola Deaton. There are so Frances Clapper many instructional DVDs and digital You and your friends are workshops to choose from. A big thank you goes to Lola who is viewing and L invited to EAFA’s reviewing some of the many options for I can’t express enough how 37th Annual Open us. For this issue Lola reViews Action in wonderful our newsletters have been!!!! Exhibition Watercolor by Nita Engle, AWS. And They have been elevated from remember, we invite you to send in your newsletter to a beautiful art magazine! I reviews as well. Thank you Lola for your November 5, 2012 through read them cover to cover, every word. I enthusiastic and detailed reViews! January 4, 2013 And thank you to all of you who sent now hang onto the newsletter like I do in entries for the Editor’s Contest. It's a some art magazines for future OPENING RECEPTION pleasure to see everyone's work and share references. it with our rea ders. Thank you!!! Saturday, November Please don’t hesitate to send in entries Seiko Konya, NWWS or story suggestions, insights, and 17, 2pm - 4pm feedback. I would love to hear from you! Charlene Collins Freeman, NWWS EAFA Gallery, Suite P292, www. charlenecollinsfreeman.com Seattle Design Center 5701 6th Ave S., Congratulations to our Seattle, WA 98107 newest NWWS Signature Members! Free and open to the public. Free parking. Sandy Haight Diane Lary Mon.– Fri. 9:00am - 5:00pm Christine Sharp
November-December 2012 · 3 Interview with an Artist Charles Reid I was only intereessted in draawwing cowboys and Indians and probably would nnotot haavve become an artist wiithothout this interest.
MMyy father also enrolleolled me in a correspondences ccoourse at e Famous Artists School, Keep your haandnd on the paper so that you where I later becameame an can vary the line strength as you draw. instructor.
I attended Southuth Kent School and e Univerersittyy of VVerermont. I left VVerermont after twtwo years. I had a delightful time at UVUVM and met my future wifeife, Judy, there. But South Keennt and VVerermont had nnoo art programs so I mmooved to NYC and enrolled at e Art Students League. erere I studied with Frank Reilly in a very academic iillusllustration Joseph WWolfskillolfolfskill program. Dip the brush in waterr,, shake it out, dip it 24 x 18 into the painaint. Put it on the paper. Mix yourur colors on the paper. HHoow did you come to pursue Ahhhh Charles Reid... a career as a paintterer and instructor? I’m crazy abouutt how he lays ddoown paint, his masterful draawwings, and his I’ve been luckyky in my painting beautiful, clean ccolorolors. Charles is a maasster life with supporting pararents, a watercolorist, art iinsnstructor and authorr,, knoknown wonderffuul and very supportive around the world. wife, and getting a jobob as an instructor at the Famous When he agreed to participate in this interview Artists Schoolol when I was 24. I was as giddy as a school girl. Am I gushing too much? No. Not at all. I was a slow starter and not good enough to get illustration work. I wasas hired TTellell us a little bit about your backkgground. on a trial basis becaususe they If an arreea looks dead, put on a color wwetet on wet. were desperate to ll ll a slot I was born in Caammbridge, New YYorork. WWithith the in their painting deparartment. encouragement of mmyy parents, I started draawwing Famous Artists was a and painting at 14 and I was given a room forfor a correspondence schohool and studio. MMyy father pprrovided art materials andand a as an instructor therthere, I library of illustrated history books along with books corrected student paintings about Charles Russeellll and Frederick Remington. by doing a “visual” corcorrection on cannvvas skiin paper (if I was keen on hhororses and my parents arranged working in oil) and a to haavve me take care of a neighbor’s horseess in correction on watercolor return for boarding an ill used cow pony that my paper if workiinng in father found soomeme where. watercolor) along withith a letter of suggestions. Finished painting. 4 · November-December 2012 Interview with an Artist Charles Reid After about four years of doing oil Frank thought that a week of my is type of watercolor didn’t lend itself lessons, my supervisor asked me to do doing the tugboat lesson would be to painting a gure without the bene t watercolor gure lessons. su cient training in the medium of a pen line. At that time there wasn’t before I had to start teaching much watercolor gure work to look at I was trained as an oil painter. My only watercolor gure lessons. Frank didn’t that was understandable. experience with watercolor had been paint gures so it was up to me to come on the island of Madeira where Judy up with an approach. us I began my and I had spent a year on our honeymoon. search for lessons in gure painting Happily I had admired the fashion than didn’t include a tugboat. illustrations of Dorothy Hood. Her My supervisor, Frank Jones, called illustrations were magni cent in their me in and gave me a watercolor An artist, George Jacobs, traveled about simplicity and directness. demonstration of a tugboat. He showed Europe making pen and ink drawings me how to soften an edge in the and coloring them in with watercolor. She used just two values in the skin, smokestack and how to create the Geoge took me aboard his van and light and shadow, and didn’t bother illusion of smoke with the wet-in-wet I copied his style for a month as we much with softening edges. technique. sketched around an island.
Favorite Painters 19.5 x 28
November-December 2012 · 5 Interview with an Artist Charles Reid With experience you will become a better judge of your successes and failures.
How do you de ne success?
I feel successful as a teacher as long as I don’t have “ordinary” or “average” written in my evaluations.
Which artists and art movements inspire you?
I found that my oils reminded others of Fair eld Porter. I was very in uenced by Mr. Porter. He was a subtle but wonderful colorist.
Alfred Chadbourne, at the Famous Arapaho Artists School, had introduced me to 22 x 30 the work of Pierre Bonnard and Edouard Vuillard. ey were among I adapted her simple approach of I was invited to join e Roko Gallery Mr. Porter’s favorite painters. painting a rst wash, allowing it to dry in New York where I had my rst show and then adding connected shadow of both oils and watercolors. After Roko It’s important to study painters of all shapes. I started going to a weekly I moved to e FAR gallery and was persuasions, not only the ones you sketch class, and the work I produced there for ten very pleasant years until wish to emulate. I learn from painters there became the basis for my rst they closed in 1979. as dierent as Joan Mitchell, Willem de book, Figure Painting in Watercolor. Kooning, Richard Diebenkorn, Henri Matisse, Andrew Wyeth and Norman is approach was easier for students What makes a painting successful? Rockwell. to understand than the di cult “modeling” technique that other An old saying: “Don’t compete with instructors used. the Masters” helps when judging the success of a painting. e Famous Artists School closed due to poor management and sadly, but fortunately, Judy went back to teaching We should judge our paintings in Kindergarten to support us. terms of our “personal best.”
I joined several other ex-instructors Always try to nd even a small success from the school and we rented a large in a painting no matter what your level. studio space in Westport, Connecticut. As a teacher I usually start a critique by We paid the rent by teaching classes. asking the student what she or he likes and dislikes about their picture. I never I began doing large gure paintings allow, “My picture is terrible.” in oil and continued doing watercolor gures at our weekly evening sketch In order to improve, you must nd classes. something successful in a painting for you, at your level of skill. en you I began winning awards with the must pinpoint something “o ” in American Watercolor Society, Allied your picture and make it your goal to Joseph in his Cavalry Jacket Artists and e National Academy. improve that single problem. 17 x 24 6 · November-December 2012 Interview with an Artist Charles Reid I don’t follow the current art scene since I don’t understand it.
TTellell us a little bit about your current working sttyylee,, your process and time management.
I was intrigued by Bonnard’s use of warm and cool colors throughout a painainting. I don’t haavve annyy other color theory.
Both VVuilluillard and Bonnard aavvoided haavinving a center of interest and used a two dimensional picture plane rather than a three dimensional picture plane. ey discarddeed the idea of warm colors coming forward aandnd cool colors going back and cool colors in sshhadow and warmer out in the lighght .
I haavve never consciousllyy changed mmyy approach but in looking back I see that my older paintings were not as colorful as the work I produce todaay.y.
I use an alla prima apprpproach in both oil and watercolor and aavvoidoid glazing and over painting in both mediums. I wworork vverery slowlly,y, wwhichhich maayy come as a surprisurprise because most people think I paint looselly.y. at’s an illusion. Each stroke cooununts. Fewwerer strokes with more thoughth is betterer.
I don’t want my paintintings to look too practiced or repetitive. I’m’m not happy with mistakes, but they are essential to retain a sense of freshness.
I switch back and forth between workiing in oils and workiing in waterercolors and I haavve tried to keep my apprpproach in oil and watercolor as similar as possible. For some reason it is more di cultult to switch from watercolor to oil than to switch from oil to watercolor.
I do work more in watercolorcolor than oil since most of mmyy teaching is done in watercolor.
WWhhat drives you to teach watercolorrs?s?
Teaching is fun and I love to gure out new waayys of making waterccolorolor more simple and manageable. I think theerre is too much mmystiqystique in wwatatercolor.
November-December 2012 · 7 Interview with an Artist Charles Reid You should pay attention to getting a good value range and not bother with too many colors. It is said that Sargent used only six or seven colors.
Many students use a wonderful assortment of colors then over mix on the palette making a muddy puddle. Partially mixed colors, mixed on the paper, are more interesting than thoroughly mixed colors from the palette’s mixing area.
Basically it’s all about getting the correct ratio of paint to water in your brush.
What is it like to write instructional books on watercolors?
I love writing the books.
It’s problem solving: How do I express Amsterdam myself more succinctly? Is your work viewable in any current or followed by assignments. Both of these upcoming shows? DVDs are available on his website at I don’t think the books have aected www.charlesreidart.com. my painting, but they do show me how I am represented by the Munson important brevity is. Brevity is Gallery in Chatham, Massachusetts, He is a member of many prestigious important in writing and in painting. and the Stremmel Gallery in organizations including the National e two cross over, and I try to keep Reno, Nevada. them both as simple as possible. Academy of Design and e Century Association.
Interview with Charles Reid He has won numerous awards, by Charlene Collins Freeman including the Childe Hassam Purchase Editor, Hot Press Prize at the American Academy of Arts and Letters, the National Academy of Design and the American Watercolor Society. Charles has authored eleven books on In 1980 Charles was elected to the painting. His books are directed toward National Academy of Design. Public students at all levels. He has released collections of his work include Smith numerous DVDs as well, several of College, Yellowstone Art Center, which are available through the NWWS Brigham Young College, Roche Digital Library. Corporation, and the National Academy of Design. His two most recent DVDs include: “Charles Reid, Painter: e Figure in Watercolor” and the “Brand New Complete Course in www.charlesreidart.com Big M Watercolor,” with ten lessons, each 30 x 21 8 · November-December 2012 Northwest Watercolor Society
Waterworks 2012 Annual Members’ Exhibition October 23 – November 28, 2012
Reception & Awards Ceremony Thursday, October 25th, 6-8 pm Kaewyn Gallery 10101 Main St. / Bothell, WA 98011 / 425-483-7385
Our juror, internationally known artist Stan Miller, selected 55 paintings from 181 member submissions to be included in the 21st Annual Waterworks 2012 Exhibition. Many wonderful paintings representing the talent of our members are included in this exceptional show.
Participants in the Waterworks 2012 Exhibition are: John Adams, Roger Baker, Elena Balekha, Janice Blore, Sarah Bouwsma, Stephanie Bower, Carolyn Bowers, Jessica Bryant, Clifford Burkey, Sara Cate, Sally Corbett, Mareth Curtis-Warren, Ashley Dean, Marney Edge, Sy Ellens, Andy Evansen, Airi Foote, Charlene Collins Freeman, Gerry Friberg, Winnie Givot, Margaret Godfrey, Sandy Haight, Mary Anne Harkness, Tom Hoffmann, Karen Hopkins-St. Clair, Sook Hyun Hwang, Mary Keefer, Seiko Konya, John Krenik, Molly LeMaster, Elaine Mahler, Shelley Marrs, Lynnea Mattson, Linda McCord, David McCully, James McFarlane, Susan Miller, Diana Nadal, Carla O’Connor, William Perry, Kris Preslan, Jolene Sanborn, Thomas W. Schaller, Cheryl Schmardebeck, Marilyn Schutzky, Barbara Seese Koefod, Christine Sharp, Denny Snyder, Ron Stocke, Jack Tavenner, Gerry Thompson, Maureen Treseler, Li Turner, Liz Walker, and Hal Wright
Molly Murrah, Exhibition Chair molly@ mollymurrah.com
November-December 2012 · 9
10 · November-December 2012
is rst exercise is of the sea with Gather your paintsts, a big bucket of rushing waavves, frothothy, white spraayy waterr,, summon your courage and pounding aggaainst darrkk,k, protrtrudinngg remember what Nita and so mannyy rocks… all done in this free, fun others haavve said, “ er“ ere’s nothing to technique that Nitaita has laid out to fear! It is just a piecece of paper!” get the painting prprocess started. By unleashing the painaints, water and pa - is workshop DVD receives an per to react in a natural, unhampered enthusiastic ve brilliant, vibrant way, your rst lessonon in painting with splashes! It’s a muusst for all who wish freedom has begun! to paint fabulous, glowing paintings while at the same time haavinving more Nita carries us thrthrough a number September PPasassaagggee fun with paper andand paint than you of di erent painttinings that she and is DVD set is more than six hohours the class will work on to implement can recall haavinving inin a very long time… of intensense, step-by-step teaching. It is her design theoriesies, including some maayybe ever! deevisvised to coovver all leevvels of paininntters, rather radical techniqueshniques. ere are begginnerinners to advanced, master step-by-step methods for the warm up process of thrthrowing paint, painteerrs. Although meticuloulously pouring paint, squirting paint, ddetaileetailed and explained, beginnerginners painting with a knifeknife, numerous waayys might haavve to rewind a time or twtwo to of texturing, six-way and twelve-waayy grasp the full measure of the exactinexacting, particularly intense exerciscises. washes, making repairs, practicing design skills, to naameme but a few. Heck, scratch that, everyone will liklikely need to rewind a time or ttwwo, I most
All the while she ememphasizes that this certainltainly did! is not a workshop to complete any one of those paintings! Quite the contrary, I sugguggest that as you watch this explaining that ooncence we begin to work workshopshop, when an exercise is toward a ‘ nished’ painting, we begin nishe nished, stop and do that step juusst as to tighten up, stop exploring, become we know the un lmed class timorous of makiinng a mistake and participticipants are doing, following each paint with the intention of ending exerciscise in the same manner whilewhile the up with something we can be proud lessonon is fresh in your mind. ofof,f, something we don’t mind being judged and criitiquetiqued on. Some fteen years ago, I took oneone of Nita’s workshops and it was is journey is instead a progression marveelolously enlightening. Howeverr,, toward practicing with abandonment since that time, I nd that, exactly what the glorglorious watercolor unfortunately, I reverted back to mannyy medium can achiehieve once it is approached with a passionate, playful, of mmyy old, dreadful habits of tryyining to freedom from fearar attitude. alwaayys be in control of a meddiumium that Five brilliant splashashes! is at itsits nest whenever it is allowed to be free, spontaneous, mysteriouuss and For those readers who live in other miraculous. parts of the worlldd and are unable to visit our library at the monthllyy TTenen minutes into this DVD, I NWWS meetings to rent this DVD, was enthused with the same Nita’s DVD is aavvailable for purchase at insppiriring, excitement as if I were www.nitaengle..comcom and her afore seeing and hearing this all forfor the mentioned book is aavvailable at very rrst time! I could not wait to start www.amazon .com. ‘plaayinyyining’ again!
November-December 2012 · 11 Editor’s Contest
In each issue of Hot Press, we present an Editor’s Contest. We invite you to paint your interpretation of the theme of the contest and send in a jpeg of your painting to the editor at [email protected]. All entries will be published in the next issue of Hot Press, and a 1st, 2nd and 3rd place shout out given to those works the editor feels are most compelling. For the previous issue of Hot Press, the contest theme was “Local Markets” with all their colors, vibrancy and energy. Thank you to everyone who sent in a painting. They are all inspired and inspiring! First Place goes to James McFarlane for his Mothers Day 1. I love the overcast mood, the girl’s excitement, the way James applied the color. It’s lovely. Second Place goes to Barbara Ford’s The Flower Seller. It is beautifully captured! The expression and skin tones, the scarf. It is very endearing. Charlette Haugen’s Market Scene wins Third Place. With its Brenda Hall – Pumpkins, Honorable Mention beautiful watery strokes of paint and energy, it really captures the life of an active seafood market. And an Honorable of this beautiful Autumn season. Great colors, light and Mention to Brenda Hall for her Pumpkins. It captures the technique Brenda! crispness and excitement of not only a local market but also For this issue, the theme of the Editor’s Contest is “Vintage Photographs.” I have a real passion for photography and I collect old photographs whenever I find an antique store, flea market or garage sale. Here are some photographs from my husband’s old family album. Feel free to use these or to supply your own family or found photographs. Paint these as monochromatic studies or invent your own color scheme. I look forward to seeing your entries! Please send them in by December 10 to get in the next issue of Hot Press! - Charlene
James McFarlane – Mother’s Day 1, 1st Place Charlene Freeman – Sweet Berries
Charlette Haugen – Market Mary Larson – Farmer’s Barbara Ford – The Flower Scene, 3rd Place Market Seller, 2nd Place Jeff Waters – Flower Stand 12 · November-December 2012 Editor’s Contest, continued
James McFarlane – Mother’s Day 2 Charlene Freeman – Pike Place Seafood Brenda Hall – Market Sample
Next Issue’s Contest – Vintage Photos
November-December 2012 · 13 NOVEMBER PROGRAM, Continued
Ooze means creating playful and dynamic landscapes using layers of wet watercolor and chalk pastel. Employing the strength of both media creates paintings that are fluid, transparent and lively, with strong line work and color. Utilizing experimental techniques such as adding pastel to wet watercolor in layers and letting the pastel “ooze” into the wetness, the artist is encouraged to use these media as a way to play and create openly. She also uses gouache, watercolor crayons, pastel pencils and watercolor pencils - anything that will dilute in water. Cathe will include a demonstration of this technique at our November 2012 NWWS meeting. Cathe is inspired by travel and working outdoors. She loves to paint in the magic lighting of sunrise and twilight, but finds if she is working at noon, she just searches out interesting shapes that are backlit or looks for interesting colors and finds them just as intriguing. Growing up the youngest of three girls, she enjoyed using the art equipment and supplies of her artist older sister. In college she majored in math and got her minor in art. After college she worked in the computer science field until she was in her late 20s, when she made the life changing decision to jump into art full Barbara Allen bring art supplies to Third Place Pub, located time. She first painted in oils, then tried watercolor, which at 6504 20th Ave. NE, Seattle ( Ravenna area) the first three she found more difficult as its outcome was less predictable. Mondays of the month about 5:30 or 6:00 o’clock and Raising her family she would sometimes feel the call to be encourage patrons to gather at their table and try something creative so strongly she would hire a babysitter so she could creative. She invites us to join her at her table there with our go away and paint. Spending two weeks in Maine or a month sketchbooks and pencils. Her newest instructional DVD in China helped to make her children grow up to be about layering in watercolor and pastel will be out in independent. She enjoys having a variety of media to mix up November. Please watch for it. Check out her website for the in her studio, much like someone who loves to cook enjoys a dates of her upcoming workshops. Cathe@ catherinegill.com well equipped kitchen. Respectfully submitted by Fran Clapper Please check out Cathe’s web site for details about her NWWS Program Chairperson extensive education and very interesting career that has taken her around the world to paint and to teach. She has numerous awards, has taken part in exhibitions around the world and has had articles written by her or about her in many publications. She has created instructional DVDs and she has written a book titled “Powerful Watercolor Landscapes” that can be ordered from her website. In it, she teaches 27 tools for painting with impact. She even motivates local folks with Art on Tap where she and artist friend
14 · November-December 2012 Step-by-Step Art Lesson by Cindy Briggs
Cindy blends two of my favorite activities: painting and travel. Last year I bought her book, “Make Every Day A Painting,” which she co-authored with eresa Goes- ling. e 70-page book o ers a variety of step-by-step lessons from their travelling painting ventures. Asking Cindy to prepare a step-by-step lesson for our Hot Press readers was a natural. I hope you enjoy the stunning lesson she put together!
ank you Cindy! Step 1
Plan ahead with a simpli ed value study: I created a 4” x 2” value study using a Stabilo Aquarellable Pencil to draw it out then brushing with water for a painterly value study. A value study helps me plan my interconnecting light and shadows, simplify, crop and determine what I want to keep in and what I want to leave out of the painting.
Cindy Briggs Positano, Italy
Color Strategy: I determine my color scheme before I start painting to make a strong color statement.
is design focuses on color, light and texture so I limited my colors to dominantly warm earth tone pigments with a few cool accents.
Reference Photo I utilized a double complimentary or This reference photo was taken at Walters Peak Ranch near Queenstown, New Zealand. The image inspires majestic strength and endurance offering great patterns of light and shadow. tetrad color scheme.
I decided to utilize a mix of mostly transparent and sedimentary watercolors for rich granulating color.
ese subtle versatile sedimentary colors are created from granular pigments, some natural and some synthetic, that, when applied, settle into pleasing patterns that enhance texture.
Value Study November-December 2012 · 15 Step-by-Step Art Lesson by Cindy Briggs
From left to right, the Daniel Smith brand colors I used are: Bu Titanium, Naples Yellow, Raw Sienna, Lunar Earth, Burnt Sienna, Tigers Eye Genuine, Purpurite Genuine, Cobalt Violet, Cobalt Turquois and Cobalt Teal Blue.
Step 2
After drawing my design on Fabriano 300 lb Softpress paper I start painting. I use a ¾” Daniel Smith Cat’s Tongue Brush for big areas and a Black Gold 311 Size 4 Quill Watercolor brush for smaller shapes and details.
I am really excited about the intercon- necting light and shadow shapes on the horses and start to develop my shapes. I paint nearly at which helps allow the paint to settle on the paper for interesting pigment displacement creating nuances of texture going beyond just color. When painting I get in and get out - don’t over mix the Step 2 granulating color for the desired e ect.
Step 3
To create the re ective glow in the shadows, I worked wet in wet dropping in Naples Yellow then Raw Sienna, Lunar Earth then added some Cobalt Violet and Purpurite Genuine for my cools, encouraging the colors to mix and mingle on the page.
Always be aware of your warms and cools and the shadows. A shadow that is all warm or all cool doesn’t read right.
To make my dark browns more interesting I introduced Cobalt Teal Blue, bringing the earth tone colors to Step 3 life.
16 · November-December 2012 Step-by-Step Art Lesson by Cindy Briggs
Step 4
I saved the whites for dramatic light but wanted to vary the color of the white.
To do this I paint with Titanium Bu to create the horses coat color in the light, a warm o -white, warming it with Naples Yellow and cooling it with Cobalt Violet.
I start de ning the mane with positive and negative shapes.
Step 4
Step 5
Here you can see where I added some calligraphy in Cobalt Teal Blue for an unexpected sparkle of contrasting col- or.
I also spritz and splatter some of the colors as I paint for additional texture e ects. I am almost ready to paint the background.
To protect the edges of my horses and reins so I could freely paint, I applied masking uid and let it dry.
Step 5
To create the spontaneously wet in wet background, I thoroughly wet my Step 6 paper with clean water in the area I wanted exciting color, using a Daniel Smith ¾” Cat’s Tongue Brush. is brush is great for big excit- To plan my background approach I did ing washes without any streaking. While the paper is glistening wet, a quick 2 x 4” background color study. I brush in thick rich colors straight out of the tube for vibrant lively color, then spritz, splatter and let the paint drip. I could imagine my horses placed in the white area to help me see how it would look with a loose wet in wet abstract background.
Step 6
November-December 2012 · 17 Step-by-Step Art Lesson by Cindy Briggs
Step 7
Here you can see the range of colors used in the background with the protective masking uid on the reins and around the edges. e colors used are Tigers Eye Genuine, Burnt Sienna, Lunar Earth, Cobalt Teal Blue, Purpurite, with Naples Yellow and Raw Sienna for the light passage.
I want my paintings to say watercolor and this approach makes it undeniable.
Step 7
Step 8
After the paper is completely dry I remove my protective masking uid to reveal some white edges which I manipulate by adding calligraphy, highlights, details and sometimes softening some edges for lost and found edges.
Step 8
Step 9
I use the Black Gold 311 Size 4 Quill Brush to add nal details and even sign my painting - its exible point makes it easy to add calligraphy to my nearly completed work.
Step 9
18 · November-December 2012 Step-by-Step Art Lesson by Cindy Briggs
Final Step
To nish New Zealand Reins, I pushed my darks in the background even further, still retaining that wet in wet look while also adding depth to the details on my horses.
New Zealand Reins was exhibited in Las Vegas representing the Oregon Watercolor Society at the WFWS show. It will be on display at the Scott Milo Gallery in Anacortes, Washington through November in a show of watercolors inspired by travel featuring Cindy Briggs and eresa Goesling. e gallery will host a reception on November 2nd from 6-9pm.
New Zealand Reins NWWS Signature member, Cindy Briggs 28 x 14 lives in Bend, Oregon. Her dramatic luminous paintings have been exhibited with the NWS, WSO, NWWS, WFWS, Watercolor Magazine, America’s Best of Watercolors III and other publications.
Cindy blends painting with travel and leads international workshops with “Make Every Day A Painting” co-author, eresa Goesling. ey are launching their 2013 tours at the Emerald Arts Center, April 2-5, and are hosting a cruise in May from Quebec City, Quebec to Boston, and an April workshop at the Emerald Art Center. Stay tuned for workshops at Daniel Smith, at eresa’s new Studio/Gallery on Mercer Island and more...
To nd out about Cindy Briggs and eresa Goesling’s upcoming tours, Make Every Day A Painting o ers workshops and exhibitions visit their web- step-by-step lessons on capturing site at www.MakeEveryDayAPainting.com Conca dei Marini the ambiance and romance of or www.CindyBriggs.com. 29 x 24 inspirational settings & subjects.
November-December 2012 · 19 Member News
Gloria Miller Allen, AWS has received of her fabulous pottery for sale. And the Magazine selected Joe Mac Kechnie as signature membership in the National artists of 49th Street Studio next door one of 10 artists for their October 2012 Watercolor Society ( NWS) and has will have their studios open. Also article “Line & Shadow” in which 10 completed her book, I Think, Therefore I Catherine has launched 11 short artists share their joy in fundamentals of Art which is available through instructional videos from Candy Corn drawing. The Cole Gallery in Edmonds, Amazon.com. Along with 21 other Productions. Click on Video at WA announced that Joe Mac Kechnie artists, Gloria has been invited to www. catherinegill.com. All are $5.99, will be the featured artist at their gallery participate in the invitational plein aire and two are free. DVDs available soon. November 15-December 14, 2012. event in Zion National Park this Reception on November 15th. Much of Nancy Grigsby was the guest artist at November. The name of this annual his new work in the show will explore the Whatcom Art Museum/ Lightcatcher week-long event is “In the Footsteps of the world of extreme outdoor activities Building’s Gift Shop during the month Thomas Mora n.” Her paintings from last such as rock climbing, kayaking, rodeo of October. Paintings featured were year’s Zion National Park event were on and horse racing. www. colegallery.net. acrylic/mixed media, many with found exhibit at the Art Museum Of Eastern objects. Idaho during June, July and August. Stop at Dusted Valley Winery on your Roger Baker had two paintings, Saturday afternoon Woodinville Winery Morning Light and The Letter, juried tour to see Charlette Haugen’s work. into the UNCLAD 2012 show at Charlette is the Featured Artist at Stanwood,. Dusted Valley Winery through 1/7/13. 14465 Woodinville Redmond Rd NE, Woodinville, WA 98072. Three Artists’ Open House Nov 10 & 11, 2012 Noon-3pm at Charlette Haugen’s house (1619 30th Ave W, Seattle 98199, 206-282-1813). Fine art (30% off), jewelry, artisan soaps. Holiday Tour of Homes Boutique December 1, 9am - 4,pm see Charlette Haugen in her booth ᮡ Bev Jozwiak has a one woman at Our Lady of Fatima Church, 3218 W. show at the Caswell Gallery located at Barrett, Seattle 98199. 253 East Columbia River Hwy. (the ᮡ Jacqu i Beck won an Honorable street behind the Troutdale outlet mall) Mention in the First Annual Acrylic in Troutdale, Oregon 97060. The show Artist Competition in Artist’s Magazine, will run through November. September 2012, for her painting Farmyard Collective, acrylic & mixed ᮤ Cheryl media, 18”x24”. Renée Long’s watercolor, Don Buck was juried into the 1st Snowy Owl, was Annual Juried Art Exhibit hosted by the selected for the city of Mercer Island with his painting 2012 Puget Tulips. The exhibit was juried by Paula Sound Birdfest Stokes, manager of the Pratt Gallery of Poster. the Kaplan Arts Complex in Seattle, and ᮡ Patricia Hitchens is a Featured was on exhibit from Sept. 10 to Oct. 26. Artist at Parklane Gallery “Nature’s Sandra Pearce Elegance” Exhibit November 6 - won Dotti Burton has been juried into the December 2, 2012. Artist Reception and “Outstanding exhibit “Unfiltered” with the Art@ SDC Art Walk is on Friday, November 9, Watercolor” in Gallery’s, EAFA, at Seattle Design 2012, 6:00-8:00 pm, Parklane Gallery, the August 2012 BoldBrush Painting Center, through November 2nd. 130 Park Lane, Kirkland, Washington Contest at FASO.com with her painting Catherine Gill is having an Open 98033, 425-827-0162. Springtime in Portland Oregon. Visit House Studio Party at her Ballard studio www. pathitchens.com http:// faso.com/ boldbrush/winners/88 to see the winning paintings. on Sunday Nov 11, 1-5pm. 31 paintings Joe M ac Kechnie has been selected as from her Maine trip will be on display, one of the artists featured in the new as well as artwork from her summer book Strokes of Genius 4, which explores exhibit in Roslyn. Judy Rouse, potter the artistic line work of more than 100 from Ellensburg, will be back with loads contemporary masters. Southwest Art 20 · November-December 2012 Member News Opportunities
landscape. Working from enlarged colo r WORKSHOPS co pies,this is for folks using watercolor Jacqui Beck will be teaching her and also mixed media. Igniting Creativity workshop November Jan 26/27 Edges in Landscape Painting – 3-4 at ArtEast in Issaquah [$175]. Join Learn the techniques to get soft, rough this stimulating, hands-on class to and hard edges, in watercolor and experience many ways of expressing mixed media painting. First day is yourself. Everyone is wel come. To watercolor, second day is mixed media register: http:// arteast. org/; 425-392- of pastel and watercolor. Intended for 3191. Jacqui also teaches Expressive intermediate level in watercolor. Acrylic & Mixed Media Painting and Molly Murrah will be teaching ᮡ Rita Sklar’s 22” x 30” watercolor, Stretching Toward Abstraction. See her Watercolor for the Absolute Beginner at Missing You Already, has been juried website for venues and dates: Daniel Smith in Bellevue, WA beginning into the National Watercolor Society’s www. jacquibeck.com October 29th. This 4-week course will 92nd Open Annual Exhibition held at Charlene Collins Freeman, NWWS cover all the basics a budding NWS headquarters in San Pedro, offers weekly classes and monthly watercolor artist needs to know to begin California. workshops in beginning watercolors, a lifetime of happy painting, including sketchbook & drawing for children, Brenda Swenson has had paintings Paints & Color, Paper & Brushes, teenagers and adults. Classes and accepted into the National Watercolor Drawing & Composition, and Fun workshops are h eld at the Kaewyn Society 92nd International Exhibition, Techniques. Classes will be on Mondays Gallery, 10101 Main St., Bothell, WA. Adirondacks National Exhibition of at 10:00 a.m. on 10/29, 11/5, 11/19, and Visit Charlene’s website at American Watercolors, San Diego 11/26. If you know someone who wants www. charlenecollinsfreeman.com or Watercolor Society 32nd International to paint in this magical medium but em ail her at Charlene.freeman@ Exhibition, and she achieved doesn’t know how to begin, let them me.com for more information. “Signature” membership in SDWS. know about this fun class! Brenda’s new DVD was just released, Kay Barnes is hosting an Eric “Sketching Techniques with Wiegardt’s “Secrets of Painting Loose” Watercolor.” www. SwensonsArt.net and workshop November 13-16th – 9:00am http:// brendaswenson. blogspot.com -4:00pm at Kay Barnes Studio in ᮤ Suze Woodinville. $445 for this 4 day Woolf will workshop! For additional information give a talk call Mae or Kay @ 206 372 7611 or visit about her her website; www. kaybarnes.com for work at the further information. Women Painters of EXHIBITS Wash ington’s The Overlake Hospital Healing Arts general exhibition/sale is currently up through meeting in November 18, 2012. Then we will again the Seattle Catherine Gill Studio Weekend rotate the paintings that did not sell. Art Museum Workshops www. catherinegill.com. There is opportunit y for approximately auditorium at $175, max of 12, register online or 32 paintings to hang from our noon on contact Cathe at cathe@catherine membership. Most are 1/4 to 1/2 sheet November gill.com: size paintings. The average price range 14. Her paintings Burned at the Base and is $200-$450. The staff, patients and After the First Death are part of the Nov 17/18 Color – The Basics Learn to mix watercolor hues from the color visitors all enjoy the works as they pass Phinney Center’s Pacific Northwest Fine through the halls. Cut off for entries for Arts Competition. This is the first wheel, get the values you want with good mixtures of paint and water, and the next hang will be Oct. 25, 2012. Any showing of these very large paintings questions please fell free to contact Suze did during her Banff residency, and make deliberate pigment choices, and oh yeah, The Hub. Charlene Burley at charnabe@ aol.com she is showing them wrapped around 20- or check our information under events. inch-diameter cylinders. The show closes Dec 1/2 Design in Landscape – Good November 28. composition is half the work of producing a good painting. Learn to simplify the complicated mess of Continued on page 22 November-December 2012 · 21 Opportunities
Artists local, international, and centre. org or contact the Foundry Art enhanced works. The exhibition will be worldwide are invited to enter their art Centre at 636-255-0270. juried and judged by multidisciplinary into Watercolor II: Paper & Pigment, artist Sam Corso. The Prospectus and THE 43rd ANNUAL RIVER ROAD a juried exhibition encouraging the pictures of the 2011 exhibit are available SHOW, broadest range of personal styles and a national juried exhibition at www. laag-site. org/River_Road_ applications of the liquid medium. sponsored by the Louisiana Art and Show. html. Direct questions to 43rd Nationally renowned watercolorist Artists’ Guild, is receiving entries for the RRS at rrs@ laag-site. org or PO Box Carol Carter will jury the exhibition and December 3 – January 30 exhibit at the 41115 Baton Rouge, LA 70835. one $1,000 cash award and one $500 Louisiana State Archives building in National Juried Exhibition, Less is cash award will be presented, along Baton Rouge, LA. Deadline for entries is More: Small Works in a Great Space: with one honorable mention. All entries September 17. Entry fee is $40 for first are due by Friday, November 2, 2012. three entries and $5 for each additional The Mitchell Gallery, St. John’s College, The exhibition runs from December 21, submission up to 10. This is a national Annapolis, MD is now accepting entries 2012 – February 1, 2013 with an opening juried competition with cash & in all media. Cash awards. Jurors: Joann reception on Friday, January 11, 2012 prizes of $4000. All United States artists G. Moser, Smithsonian American Art from 6-8pm. For more information, to 18 years and older are invited to submit Museum, and Jack Rasmussen, Katzen submit your pieces online, or if you any original two-dimensional art except Continued on page 23 have questions, visit www.f oundryart photography or digitally-created/
22 · January-February 2012 Arts Center at American University, Utrillo’s masterful street scenes done in Washington, D.C. Entry cost: $40 for up Defining Discipline a flat, and normally considered to three JPEGs. Submission deadline, I mentioned in my last article that overworked, color. If we believe realism February 28, 2013. Link to the both discipline is the answer, then we have no room for Prospectus: http://themitchell and the expressive colors of Van Gogh, gallery. org/prospectus. php imagination are Matisse, and Vui llard. So is there a common denominator Call for Entries 4th Annual the key of discipline? I believe so. It is pattern. Fallbrook, CA Signature American ingredients Regardless of interpretation, the Watercolor Exhibition. We’re proud necessary for a paintings with the best patterns are the to announce $10,000 in Awards for our masterful 4th annual Signature American painting. This masterpieces. By pattern, I mean the Watercolor Exhibition. Apply online at became evident arrangement of values and colors on the www. fallbrookartcenter. org under ‘For to me while I picture plane, independent of subject the Artist’ and then ‘Show was in Paris matter. The Nabis painters were some of Opportunities.’ Deadline for entries is visiting the the first to embrace this philosophy. November 15, 2012. The show will run Louvre and especially the Orsay Maurice Denis said, “Remember that a from February 3 - March 17, 2013. museums. picture, before being a battle horse, a Opening reception February 2nd. The While there, I feel I discovered the nude, an anecdote or whatnot, is 2013 show’s juror is Cheng- Khee Chee, common element of discipline required essentially a flat surface covered with AWS D.F., NWS. colors assembled in a certain order.” It’s is a tremendously freeing Ann Breckon is offering concept, as each of us the following classes as artists can select our own form of and workshops: interpretation, and PT. ROBINSON LIGHTHOUSE each is equally valid. This small lighthouse sits on a point of The challenge is to land with Mt. Rainier in the background. meld our personal Breathtaking and charming. Nov. 12-13 insights into strong (Mon-Tue) 10-4 & 9:30-3:30 in the Bellevue Daniel Smith (new time due to visual patterns. new store hours). $150. Register Keep your brush wet! directly with Ann Ph: 425-644-4245, Email: annbreckon@ gmail.com. Eric Wiegardt AWS- DF, NWS SILVER BELLS & RED BOWS Rounding Long Island – 22 x 30 Christmas fun! We will do a number of small paintings combining shiny bells with ribbons. Great for cards or small of all paintings regardless of subject gifts. Dec. 2-3 (Sun-Mon) 11-5 & 10-4 in matter and style. I think most of us may the Seattle Daniel Smith. $75/day. Register directly with Ann Ph: 425-644- define discipline as the ability to get American Watercolor Society 4245, Email: annbreckon@ gmail.com. objects to “look like they are “. This Gold Medal of Honor pervades many national shows today, as School of Painting WEEKLY COLOR CLASSES Watercolor Workshops many of the judges come from an No vember 20 12 – Feb ruar y 2013 Each week we study a new color term, illustration background, and many of 11/7-9, O cean Park, WA • 11/13-16, Woodi nville, WA scheme or idea, with accompanying 12/3-7, Scottsdale, AZ • 1/22-25, Springfield, OR the top honors go to such paintings. illustrated handout, and then do a 2 /1 1 -1 5, S cottsd ale, AZ • 2 /25-3/1, Palm Deser t, C A painting using this knowledge. Realism is a valid discipline, but only A vaila ble at w ww. e ricw iegardt.co m
Reference photos and sketch outlines one of many. (Unfortunately, the ones Ne w DVD Series of 6: are provided. Topics range from that look the closest like a photo are landscape to floral, figures, still life and Painting Loosely with sometimes the prize winners.) Photographs even abstract. It’s a great way to make new friends and learn skills. Classes are So we come back to the question, Buy a se t of 6, p ay fo r 5
$30 each for three hours of instruction. what is the underlying factor of all great Or purchase individually.
Every level of painting experience is paintings? If we think it is Spe cial Sav ings eve ry m onth at www.ericw iegardt. com welcome. Thursdays 10-1 at the Seattle draftsmanship, ( Da Vinci, Durer), then Also on th e Website and at Wiegard t Stu dio Daniel Smith, Fridays 10:30-1:30 at the Gallery are : Esse ntial Design Work book, W aterc o lors- we are rebuffed by the figure Free and Easy Book, Instructional DVDs, Original Bellevue Daniel Smith. Contact Ann to masterpieces of Diebenkorn and Paintings, Giclee s Prints & Lithographs register Ph: 425-644-4245, Email: annbreckon@ gmail.com. You may also Bonnard. If we think it is fresh, exciting Box 1114 · Ocean Park, WA 98640 register through PayPal at color (Monet and Degas), then we can (360) 665-5976 www. annbreckon.com. be stopped dead in our tracks by www. ericwiegardt.com watercolors@ ericwiegardt.com
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A Brush with Art
Northwest Watercolor Society P.O. Box 50387 Bellevue, WA 98015-0387
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Community St. Andrews . E College . Lutheran Church S E V A Sunset H Village T 56 1 90
Exit 11A Exit 11B
Eastgate
ST. ANDREW’S LUTHERAN CHURCH 2650 148th Ave SE · Bellevue, WA 98006
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November-December 2012 · 24