Nine Artists Reveal the Colors They’re LOVING Right Now

ARTISTSNETWORK.COM

A Path to

color
Confidence
How One Small Change
Can Lead to Bigger,
Bolder Expression

25 th
ONES TO WATCH Anniversary
1993-2018
Five Rising Talents Talk
DECEMBER 2018

+ 9 “HAIR-RAISING” TOOLS
A
AND TECHNIQUES FOR
P
PAINTING CONVINCING FUR
 DECEMBER 2018
25 th
Anniversary
1993-2018
Features

21
ONES TO WATCH
Nominated by some of today’s
top watercolorists, these five
artists share their talent—and
what stokes their creative fires.
BY MCKENZIE GRAHAM

32
OBJECT LESSONS
L.S. Eldridge weaves together
color, pattern and the art of
storytelling to share the tale
of love, loss and family in her
personal still life subjects.
BY REBECCA DVORAK

40
FOLLOWING FATE
The Big Easy flaunts its
evocative Southern charm
in Sean Friloux’s tonal
landscapes and interiors. 21
BY MARIA SEDA-REEDER

46
CHAOS AND ORDER
Moh’d Bilbeisi embraces the
fluidity of watercolor while
manipulating it to achieve
cityscapes, florals and more.
BY JOHN A. PARKS 40 46
ArtistsNetwork.com 1
 DECEMBER 2018

Columns
4 EDITOR’S NOTE
Appreciate the lessons to be
found in painting mis“fires.”

6 HAPPENINGS
One artist finds beauty
in the cold during a
residency in Iceland.
BY MCKENZIE GRAHAM

10 ANATOMY OF
A PAINTING
Peaking early pays off for
one famous watercolorist.
BY JERRY N. WEISS

12 WATERCOLOR
ESSENTIALS
Use this go-to guide
to take the guesswork
out of painting different
kinds of fur.
BY YAEL MAIMON

56 BURNING QUESTION
Nine artists reveal the colors
adding life to their current
works. Lavender, anyone?
COMPILED BY ANNE HEVENER 12
60 CREATIVITY
WORKSHOP
Go small, yet bold,
to create lasting impact. 60
BY DAVID LOBENBERG

72 OPEN BOOK
You can travel the world
over for sketch sites, but ON THE COVER
there’s no place like home. Nine Artists Reveal the Colors
BY MARC TARO HOLMES They’re Loving Right Now 56
A Path to Color Confidence 60
Ones to Watch 21
Painting Fur 12

Get Social Neighborhood Thawing (detail; watercolor

on paper, 15x11) by Andy Evansen

@ARTISTSNETWORK

Watercolor Artist (ISSN 1941-5451) is published six times a year in February, April, June, August, October and December by F+W Media, Inc., 10151 Carver Road, Suite 300, Blue Ash OH 45242; tel: 513/531-
2222. Single copies: $7.99. Subscription rates: one year $21.97. Canadian subscriptions add $12 per year postal surcharge. Foreign subscriptions add $18 per year postal charge, and remit in U.S. funds.
Watercolor Artist will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 26, No. 6. Periodicals
postage paid at Blue Ash, OH, and additional mailing offices. Postmaster: Send all address changes to Watercolor Artist, P.O. Box 421751, Palm Coast, FL 32142-1751. F+W Media, Inc. Back issues are
available at northlightshop.com or by calling 855/842-5267. GST R122594716. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.

2 Watercolor artist | DECEMBER 2018

Editor’s Note Watercolor
ARTISTSNETWORK.COM

b lame it on Little Women, but I

have a visceral reaction when
I hear anyone talk about
throwing creative work into the ire—
metaphorically or otherwise. Toss it
EDITOR-IN-CHIEF Anne Hevener
ART DIRECTOR Amy Petriello
SENIOR DESIGNER Brian Roeth
SENIOR EDITOR Beth Williams
ASSOCIATE EDITOR McKenzie Graham

CONTENT STRATEGIST, FINE ART GROUP Courtney Jordan

into a bottom drawer? Sure. Stick it
in the back of a closet? Absolutely. But ADVERTISING
set it into a ire and watch it burn? hat instantly conjures ADVERTISING CONSULTANT Mary McLane
Western U.S. & International; 970/290-6065
up the scene of a weeping Jo March, mourning the loss of [email protected]
the only copy of her novel, with her pitiful, guilt-ridden ADVERTISING CONSULTANT Kaline Carter
little sister, Amy, whimpering nearby. I can hardly bear it. Southeastern U.S.; 505/506-7698
[email protected]
his is why I was struck when not just one but two artists ADVERTISING CONSULTANT Deb Aldrich (for ArtistsNetwork)
in this issue revealed that they burn work if they’re not Northeastern U.S.; 917/991-1807
happy with it. Artist L.S. Eldridge recalls the speciic chal- [email protected]
MEDIA SALES COORDINATOR Barb Prill
lenge of iguring out how to make a painting of a tin can to
800/283-0963, ext. 13435; [email protected]
her satisfaction. “I burned each painting that didn’t work DIRECTOR OF ADVERTISING SALES—FINE ART, WRITING + DESIGN
until I landed on what I considered an artful approach to the Tony Carrini
subject.” She eventually triumphed with Simple Measures (on Office: 646/859-6599, ext: 12901; Mobile: 646/793-1424
[email protected]
page 36), the irst painting of the subject, she says, “that
F+W, A CONTENT + ECOMMERCE COMPANY
didn’t end up in ashes.” CHIEF EXECUTIVE OFFICER Gregory J. Osberg
On page 54, artist Moh’d Bilbeisi advises new painters to CHIEF FINANCIAL OFFICER Kenneth Kharbanda
seek out quality and demand it of themselves. “Not every- SVP, GENERAL MANAGER F+W FINE ART, WRITING, OUTDOORS
thing I paint or sketch is amazing,” he says. “If it’s good, AND SMALL BUSINESS GROUP Ray Chelstowski
MANAGING DIRECTOR—F+W INTL. James Woollam
I keep it; if it’s not, I learn from it and then feed it to the
VP, CONSUMER MARKETING John Phelan
ireplace.” It’s this insistence on excellence that keeps the
VP, GENERAL COUNSEL Robert Sporn
artist’s work fresh, decisive and always compelling. VP, HUMAN RESOURCES, CUSTOMER SERVICE AND TRADE Gigi Healy
his got me contemplating the various ways in which we VP, MANUFACTURING & LOGISTICS Phil Graham
respond to our creative misires, because the challenge, we VP, PRODUCT MANAGEMENT Pat Fitzgerald
know, isn’t really about how we get rid of a failed attempt, but NEWSSTAND SALES Scott T. Hill
[email protected]
when. And at what point is it OK to let it go—permanently?
I’d wager that many of us hesitate too long, afraid of EDITORIAL OFFICES
10151 Carver Road, Suite 300, Blue Ash, OH 45242
destroying an efort too soon, hoping there may still be a 513/531-2222; [email protected]
small chance of salvaging our vision. But, clearly, there’s SUBSCRIPTION SERVICES
wisdom—and freedom—in making the choice to discard P.O. Box 421751, Palm Coast, FL 32142-1751
(and not just set aside) a piece that’s no longer promising. US/Canada: 800/811-9834
Foreign subscribers: 386/246-3371
It’s not about giving up; it’s about taking control. After all, ART I S TSN E T WO RK .CO M /CO N TAC T- US
when we hang on to something too long, refusing to let go, Back issues are available. For pricing information or to order,
we’re also making it harder to start afresh—whereas, once call 855/842-5267 or visit artistsnetwork.com/store.
Specify Watercolor Artist and the issue month and year.
we decide to let go of something that isn’t working, we’re
free to make a new beginning. NEWSSTAND DISTRIBUTION
Internationally distributed by Curtis Circulation Co.,
he tragedy for Jo, of course, is that it wasn’t her deci- 730 River Road, New Milford, NJ 07646.
sion to burn the manuscript. But, in the end, we know this Tel: 201/634-7400. Fax: 201/634-7499.
irst novel wasn’t the story Jo was meant to tell. So—with Attention Retailers: To carry Watercolor Artist in your stores,
contact: [email protected].
a nod to anyone on Team Amy out there—it may be that
PRIVACY PROMISE
she actually did Jo a favor. WA Occasionally we make portions of our customer list available to other companies so
they may contact you about products and services that may be of interest to you. If
you prefer we withhold your name, simply send a note with the magazine name to:
List Manager, F+W Media, Inc. 10151 Carver Road, Suite 300, Blue Ash, OH 45242.

Printed in the USA

Copyright © 2018 by F+W Media, Inc. All Rights Reserved.
PHOTO BY CARA HUMMEL

Watercolor Artist magazine is a egistered trademark of F+W.

The only real battle in life is

“
between hanging on and letting
go. —SHANNON L . ALDER
4
”
Watercolor artist | DECEMBER 2018
 How to Draw
Taught by Professor David Brody
UNIVERSITY OF WASHINGTON

E D TIME OF LECTURE TITLES

IT

FE
LIM
1. An Introduction to Drawing

R
70% 2.
3.
Drawing Materials for Line
Drawing Fundamentals and First Exercises

31
4. Line and Shape: Line and Aggregate Shape
off

OR
5. Line and Shape: Volume and Figure-Ground

ER
ER

D
6. Line and Shape: Positive and Negative Shape

B
BY D E C E M 7. Composition: The Format and Its Armature
8. Composition: How Artists Compose
9. Line and Shape: Line Attributes and Gesture
10. Composition: Shape and Advanced Strategies
11. Proportion: Alberti’s Velo
12. Proportion: Accurate Proportion and Measure
13. Creating Volume and Illusionistic Space
14. Six Complex Drawing Projects
15. Linear Perspective: Introduction
16. Linear Perspective: The Quad
17. Linear Perspective: The Gridded Room
18. Linear Perspective: Ellipses and Pattern
19. Linear Perspective: Advanced Topics
20. Value: How Artists Use Value
21. Value: Drawing Materials for Value
22. Value: Black and White and a Value Scale
23. Value: Eight Complex Drawing Projects
24. Value: Side Light and Cast Shadow
25. Value: Oblique Light and Cast Shadow
26. Texture: Mark Making and Optical Value
27. Texture: How Artists Use Texture
28. Color: Color Theory and Color and Light
29. Color: How Artists Use Color
30. Color: Color Drawing Projects
Uncover Your Hidden 31.
32.
The Figure: A Canon of Proportions
The Figure: The Head, Hands, and Feet

Talent for Drawing 33.

34.
The Figure: Artistic Anatomy
The Figure: Drawing Projects
35. Advanced Concepts: Pictorial Space
Like reading and writing, drawing is a fundamental life skill. Once an
36. Advanced Drawing Projects
integral part of a traditional education, knowledge of drawing deepens
your understanding of the visual world that surrounds you. Contrary to
what many people think, the ability to draw does not depend on innate How to Draw
talent or a unique gift. In fact, you may be amazed at how well you can Course no. 7770 | 36 lectures (30 minutes/lecture)

learn to draw, especially with the right instructor.

The 36 video lessons of How to Draw offer you dynamic and SAVE UP TO $270
comprehensive training in the art of drawing. Your teacher, David
Brody, brings more than forty years of study, studio work, and
dedicated teaching to this course, demonstrating an inspiring teaching DVD $384.95 NOW $114.95
style and limitless insight into the learning process. This brilliantly Video Download $334.95 NOW $84.95
+$15 Shipping & Processing (DVD only)
designed course takes you step by step through all of the key elements and Lifetime Satisfaction Guarantee
that together build the integrated skill of drawing. This is your Priority Code: 164722
opportunity to master the primary skill of visual art, an ability with
rewards you will treasure for a lifetime.
For over 25 years, The Great Courses has brought the world’s
foremost educators to millions who want to go deeper into
Ofer expires 12/31/18 the subjects that matter most. No exams. No homework.
Just a world of knowledge available anytime, anywhere.
THEGREATCOURSES.COM/8 WATERCOLOR Download or stream to your laptop or PC, or use our free
apps for iPad, iPhone, Android, Kindle Fire, or Roku. Over
1-800-832-2412 700 courses available at www.TheGreatCourses.com.
 Happenings

Padekar painted Icelandic Horses

(watercolor on paper, 5x7) quickly and
directly “to capture the essence and
almost fleeting movements of my
subjects,” and to work in the difficult
weather. The artist had to change his
watercolor water frequently to
prevent it from freezing.

/ MAKING A SPLASH /

Devdatta Padekar
Artist Devdatta Padekar didn’t know adventurous outing soon turned curious than nervous about me. hey
what to expect from the weather frightening as I was walking on a soon became like my pets, as I spent
when he accepted a month-long artist small road with the Atlantic Ocean on more time sketching and painting in
residency last March in Skagaströnd, one side and terriic winds blowing their company.”
Iceland, population 500. “As the name from the other. I clung to a lamppost.”
‘Iceland’ suggests,” says Padekar, “it hough ierce, Iceland also ofered
was, in actuality, a land covered in ice.” many charming (and paintable)
Padekar had previous experiences scenes. Padekar says the country is
The vast expanses
“
painting in ever-changing mountain- full of natural wonders, including the
ous regions, in the Himalayas and the colorful and mesmerizing northern
Alps, and felt prepared for the inevita- lights. What really caught his atten- of land with rows of
ble unpredictability. hat’s why he was
so taken by surprise when he was irst
tion, in the end, was the charismatic
local fauna. “he vast expanses of land
white mountains in
confronted by the winds. “Winds with rows of white mountains in the the background
reached speeds of almost 40 miles per background were dotted with barns
hour, and during one such storm, and roaming Icelandic horses. Sheep, were dotted with
I decided to venture out with my cam-
era in hand, recording as I made my
hens and ducks are often kept inside
the barns, and due to limited human
barns and roaming
Icelandic horses.
6
way across the deserted street. his

Watercolor artist | DECEMBER 2018

presence, the creatures seemed more

”
Holiday Gift Guide 1ඍඟ %඗඗ඓ

/ FOR THE YOUNG

AT ART/
Watercolor Palette
Enamel Pin [$16]
Perfect for pinning on a backpack
or pencil case and just the right
size for stuffing in a stocking, this
adorable enamel pin will brighten
up the day of any budding artist in 3ਠਨਭਲ਼ਨਭਦ :ਨਲ਼ਧਮ਴ਲ਼ $ 1ਤਲ਼
your life. +DUGFRYHU
.
6RIWFRYHU
SDJHVRULJLQDOSDLQWLQJV
(ULFVDZDUGZLQQLQJSKLORVRSK\
DQGWHFKQLTXHV
3ඔඍඑඖ$එක:඗කඓඛඐ඗඘ඛ
A Journey Through Art:
0ඉඝඑ+ඉඟඉඑඑ-ඉඖ
A Global History [$23]
Disguised education is the crux of 6඘ඉඑඖ6ඍ඘ග
any childhood holiday, and this HULFZLHJDUGWFRP
book, which traces art from
prehistoric times to the present day, 
is a journey that children will devour
without question.
. Take a prismatic watercolor
journey with Gina Lee Kim—
/ FOR THE COLOR ADDICT/
NO DRAWING
REQUIRED!

Rainbow Bud Vase Set [$115]

Handmade in Plainwell, Mich., Heidi
Fahrenbacher’s set of seven bud
vases would make a thoughtful gift
for any artist, and can be lined up
to highlight the rainbow effect, or
broken up into smaller pairs.
.

Watercolor Abstract Pillow Cover [$71]

This 20x20-inch pillow cover by designer FAST AND FUN WATERCOLOR:
Hollie Rich is a not-so-subtle way to Painting Techniques, No Drawing Required
advertise a passion for art. The beautiful $24.99 · R4957 · ISBN 9781440351549
watercolor print can be purchased in a
vertical or horizontal orientation. To learn more about the full range of
. Artists Network products, including North Light
books, visit ArtistsNetwork.com.

ArtistsNetwork.com 7
 Happenings

/ NEW TO VIEW /
Steven Cronin
Steven Cronin’s YouTube
demonstrations have been
seen by nearly 200,000
viewers for a single video for
a reason. The artist gives
useful tips freely and shows
precisely and clearly how to
work, step by step, from a
photo reference. The results
speak for themselves.
./


No one
“
can tell you
what the sky
looks like. It’s
changing all
the time.
— STEVEN CRONIN ”
Birgit O’Connor Watercolors
Try a FREE
Mini Online Course

Lifetime access,
Go at your own pace
CC (Closed Captioning)

How to paint
Flowers, Landscapes
Backgrounds, Discover the
Shadows
Composition, best art tips &
Design and more...
Interactive &
non-interactive
techniques, videos,
books, magazines,
Save 25%
Student Special and inspiration.
Apply code: WC2018

New Live
Online Workshops

Come explore our shop

www.birgitoconnor.com www.artistsnetwork.com/store/
Visit my school
https://birgitoconnorwatercolors.teachable.com

8 Watercolor artist | DECEMBER 2018

 / MUST-SEE SHOW /

Watercolors From the Permanent Collection

The Ringling Museum of Art, Sarasota, Fla.
Through February 3, 2019

A collection of 14 fan-favorite watercolors

from he Ringling Museum of Art’s permanent
collection is now on display in a show that
draws from late 18th- through 20th-century
paintings and includes landscapes to igure
studies and architectural renderings.
he show features paintings by American
THE JOHN AND MABLE RINGLING MUSEUM OF ART

and European artists, including John Ruskin,

Auguste Rodin and a few lesser-known land-
scapes by Charles Ephraim Burchield. Other
works showcase some of the more practical
applications of the medium, including artwork
for the theater. John H. Phillips’ design of the
art museum’s façade will also be shown. WA
.
Jenness House Looking North (1934; watercolor
on paper, 19x27½) by Edward Hopper

ALL-TERRAIN CREATIVE VEHICLE. ®

QoR mini by GOLDEN is a half pan watercolor set made with
®
our patented Aquazol binder. We took the big color QoR is
known for and packed it into a set that fits in your pocket!
Whenever or wherever inspiration strikes 12 bold colors will
bring your ideas to life. You not only see the difference a
modern watercolor makes, you feel it with QoR mini’s silicone
insert that holds your colors and provides a non-staining tray
for mixing.Learn more at QoRcolors.com/mini.

N SALE
O THE

AYS
FOR

HOLID

©2018 Golden Artist Colors, Inc., New Berlin, NY 13411

ArtistsNetwork.com 9
 Anatomy of a Painting

Small Vessel in
a Choppy Sea Although the painting
is suffused with the
dark tones of a storm
An early watercolor by RICHARD at sea, Bonington
modified his blues to
PARKES BONINGTON serves as create a sense of
a shining gem in his oeuvre. depth. The color of
the foreground swell
is slightly warmer and
By Jerry N. Weiss greener than the rest
of the painting.

t o refer to a painting as an early

work by an artist who lived to be
only 25 years old seems absurd,
but that’s the case with Small Vessel
in a Choppy Sea, painted by Richard
Small Vessel in a Choppy
Sea (black chalk and
watercolor, 5½x7½) by
Richard Parkes Bonington
Parkes Bonington (English, 1802-
1828) when he was about 16.
he artist had just moved with his
family from England to France, remembered him with fondness,
where he became an informal pupil writing, in part, “… no one in this
of Louis Francis. Around the time he modern school, or perhaps even
painted this watercolor, Bonington before, has possessed that lightness
began copying at the Louvre; initi- of touch which, especially in water-
ated an ill-fated period of study with colors, makes his work a type of
the illustrious Baron Antoine-Jean diamond which latters and ravishes
Gros; and met Eugène Delacroix, who the eye, independently of any subject
would become his great friend and or any imitation.”
rival. Also, Géricault’s Raft of the Bonington painted Small Vessel in
Medusa was just installed at the Paris a Choppy Sea in hopes of inding favor
Salon. his was the creative cauldron with a collector of small works.
into which the adolescent Bonington Stylistically, it was inspired by Francis,
was placed. he young artist was up and there’s something of Géricault’s
to the challenge. dramatic pessimism in the boaters’
At an extraordinarily young age, isolation on the darkened sea. But
Bonington created a body of work Bonington’s conident skills are already
that ranks as one of the highlights of apparent. he young artist was about
British Romanticism. His watercolors to learn quickly—and would leave The sailors are blocked
and oils are blessed with a deft touch, visual diamonds as his legacy. WA in with an understanding
of basic light and
clear of tone and sensitive to atmo- shadow principles.
sphere. Technically, he may have been Jerry N. Weiss is a contributing writer Considering their
one of the most charming artists who for ine art magazines and teaches at the diminutive scale, they’re
ever lived. Many years later, Delacroix Art Students League of New York. quite remarkable.

10 Watercolor artist | DECEMBER 2018

 The theme of man against the sea was a common one
in the 1800s. Many years later, Winslow Homer revisited The artist allowed the paint in the sky
the idea. His Fog Warning is similar to Bonington’s to bleed wet-into-wet, resulting in a softened
composition, though with a faraway ship at the right of atmospheric effect. At the upper right,
the horizon to which a lone fisherman rows in trepidation. however, a cloud edge is indicated with
In Bonington’s painting, it’s unclear where the sailors are a brushstroke atop a previously dry wash
heading—or if they’ll even reach their haven. of paint and retains a sharper edge.
PHOTO BY GÉRARD BLOT. © RMN-GRAND
MUSÉE DU LOUVRE, PARIS, FRANCE.

The movement of the boat, The strongest value contrast A more controlled handling
PALAIS/ART RESOURCE, NY

rising toward the left, is is where sea-foam meets the is given to the ocean.
balanced by the direction boat’s prow, which is the Bonington sharply
of the water’s white foam forward-most part of the bow delineated the wave crests
and the distant dark mass that cuts through the water. This by scraping away paint to
at the horizon, all of which is precisely where Bonington reach the white of the paper.
pull to the right. wanted to draw our attention.

ArtistsNetwork.com 11
 Watercolor Essentials

A Hair-Raising Adventure
Whether you’re painting expressively or realistically, here’s your must-have,
comprehensive guide to rendering animal hair and fur.
By Yael Maimon

o ne of the features shared by

most mammal species is that
their bodies are covered in
structures known individually as hairs
and collectively as fur. he furry coats
you look at an animal, you perceive
these general attributes of fur more
than individual hairs, and if you paint
fur efectively, viewers will get the
same impression.
Refreshing Drink (watercolor on paper,
11½x16) features a thirsty street tabby.
Notice how my brush marks suggest the
the stripes on the cat’s thick matte fur.

of animals come in many diferent Because cats are my primary paint-

iterations—long or short; solid, ing subjects, I’ve observed that there
spotted or striped; dense or sparse; are distinctive fur features that vary
soft or coarse; colorful or drab. When not only among cat breeds, but also

12 Watercolor artist | DECEMBER 2018

 CALL FOR ENTRIES

acrylicworks 7
Color & Light

Sacramento River #3, Timothy Mulligan Blue Moon, Marsha Zavez

Iris-Messenger of the Gods, Kitty Kelly

INSPIRE WITH COLOR AND LIGHT!

Celebrate your best acrylic artwork by entering it in
AcrylicWorks 7: Color & Light!
Along with a feature in the seventh edition of North
Light Books’ AcrylicWorks, your win could lead to
recognition from your peers and even potential clients.
A variety of subjects and styles are welcome, so
let your creative energy shine on the canvas and
enter today!

Emeralds, Pamela Edevold

Early-Bird Deadline
February 1, 2019
For more information and to enter, visit
artistsnetwork.com/art-competitions/acrylic-works

NORTH LIGHT BOOKS

an imprint of f+w, a content
+ ecommerce company
 Watercolor Essentials

among individual felines. he more uniform foundation of color and cast shadows underneath fur seg-
I’ve tried experimenting with difer- value. hen, work up the texture and ments, and more overlapping of hair.
ent techniques for painting fur, the detail by using a irm lat brush to Dense or sparse fur: Density
more I become comfortable with pull out the light, short hairs. refers to how closely strands of hair
painting cats. More common than solid fur is are packed. High-density fur has a lot
patterned fur, which can be striped, of strands growing near one another,
blotched or spotted, and features so you need to apply strokes closer.
PAINTING FUR more than one color. While a limited Low-density fur, on the other
Whether you paint cats, dogs, palette is recommended for solid fur, hand, should be painted using more
rabbits or horses, here are some prac- patterned fur provides the opportu- spaced strokes and more visible
tical suggestions for painting various nity to have more fun with colors. You individual hairs.
types of fur efectively. can apply both transparent glazes of hick or thin fur: hickness refers
Solid or patterned fur: A solid color as well as rich color. to the actual width of a single strand of
fur is a coat of one color that’s evenly Short or long fur: he focus hair. Basically, the width of your brush-
distributed all over the body. To is on the length of the strokes. strokes and lift strokes will determine
create its appearance, cover the paint- For short fur, the hair creates less how thick an animal’s coat looks.
ing surface with paint, creating a shadow; in long fur, there are more To paint broad lines that suggest
thick strands of hair, use a lat brush
or increase the pressure on a large
round brush. You can also lift in wide
directional lines when the paper is
wet, or scrub broad lines with a wet
brush if the paper is dry.
Shiny or matte fur: To create the
impression of shiny fur, apply your
irst layer of color with luid strokes,
and then add highlights on top by lift-
ing and reining them. You can also
use glazing in shiny parts of the fur
where the light source hits it directly

4 Tips for
Painting Fur
1. Observe the direction in which
the fur grows. Paint lines and
shadows in that direction.
2. Vary the stroke lengths and
angles to keep the fur from
looking too uniform.
3. Avoid trying to paint every
strand of hair; a few strategically
placed wisps here and there will
do the job.
4. Paint from dark to light,
applying “thin” layers to “fat”
layers and using larger brushes
to thinner brushes.

I used a wide array of colors to create the

tricolored cat with patterned fur in Insomnia
(watercolor on paper, 24x17½).

14 Watercolor artist | DECEMBER 2018

 CAPTURING MOOD
21
Showcase Your Artistic Vision
IN THE PAGES OF SPLASH 21
Your best watercolor could be featured in the
pages of North Light Books’ Splash 21: Capturing
Mood, and your work could be viewed by artists
from across the globe.

5 o’clock Shadow / Carrie Waller

CALL for ENTRIES

Tulip Shadows / Sharon Towle

EARLY-BIRD
DEADLINE:
December 3, 2018
Ephemeral / Lance Hunter

DISCOVER MORE AND ENTER AT artistsnetwork.com/art-competitions/splash

 Watercolor Essentials

FUR FACTOR
This chart shows how to create specific fur and hair
characteristics by using a variety of brushes and tools.

These hairs were created by To lift out fine lines, use a white Create defined fur (left side of
applying paint with an almost-dry water-based pen. blotch) using a wet flat brush on
kitchen sponge. almost-dry paper and soft fur (right
side of blotch) using a dry flat brush
on wet paper.

Delicate lines can be created by Use a thin round brush to pull fine, Use a toothbrush to create rough or
using a fan brush. smooth lines. smooth lines.

Scratch through blotches of paint Use a wet kitchen sponge to create Thin, soft fur can be created by
with your fingernails to create a thicker-looking fur. using directional strokes and a
fur effect. thick round brush on wet paper.

16 Watercolor artist | DECEMBER 2018

I painted Wide-Eyed Cat (watercolor on paper,
11½x13½) wet-into-wet to achieve a soft fur effect.

and more saturated strokes in shad-

owed areas.
4 Ways to Create Hair
Here are some basic ways to depict individual hairs and whiskers.
To depict matte fur, mix your color
of choice with gray. Also, overglazing • Use a scratching tool. While the paint is wet on the paper, scratch
across the wash to create animal whiskers. Anything sharp, such
and overmixing colors help dull the as a palette knife, kitchen knife or rough sandpaper with sharp-
vibrancy to create that matte look. edged particles, can be used as a scratching tool. I usually just use
Soft or rough fur: For soft, lufy my fingernails.
fur, hold the brush lightly and apply • Apply white. After the surface has dried, you can add white whiskers
loose strokes without hard edges. he using white watercolor from the tube, or white gouache, white water-
best way to achieve this efect is by based pen, or white corrective pen.
painting wet-into-wet. Let the colors • Select the right brush. With just the tip of a round brush loaded with
mingle together on the wet paper, so color, stroke the paper lightly to make fine lines. A fan brush allows you
that the subtle gradations in value to render many fine lines without working it to death.
shapes the structure of soft fur. Lifting • Experiment with other tools and materials. Using a kitchen sponge,
also allows smudging of lines, which you can create different effects, from thick to fine lines. You can also
contributes to a softer appearance. use masking fluid to reserve the white of the paper for fine hairs,
To achieve a rough fur look, apply although I personally don’t use it.
paint strokes with an old dry brush,
a bristle brush with stif hair or a
dry sponge. Turn for a demo
ArtistsNetwork.com 17
 demo

Soft Fur
In this painting of a feline face, I highlight one of the methods I use to paint cats’ facial hair
and whiskers. The features don’t need to be highly refined because of the expressive style.

Artist’s Toolkit
PAINTS
• Rembrandt, Sennelier,
PWC, Stephen Quiller,
Daniel Smith
COLORS
• Prussian blue, phthalo blue,
quinacridone magenta,
opera rose, vermilion,
lavender, cobalt violet light,
forest green, phthalo green
light, yellow ochre

Step 1 Step 2
I taped the edges of the watercolor paper Using a kitchen sponge, I dampened the
to a board and made a drawing using paper with clean water. Working wet-into-
a Staedtler pencil. wet, I applied blue to the background and
dragged that blue into the cat’s head.

Step 3 Step 4 Step 5

Introducing more colors, I painted the ears, I added lavender and violet while being I darkened the bottom-left side of the
added some dark fur around the base of the careful to reserve some highlights. painting so the head would contrast with
ears and covered the shadow areas on the I repeated each color in several areas of the the dark blue background.
face. I applied the strokes in the direction of cat’s face. Notice how the varying values
the fur growth. The colors mingled on the suggest the fur’s depth and form.
still-wet surface and suggested the soft fur.

18 Watercolor artist | DECEMBER 2018

 Step 6
I created the whiskers by extracting paint
using my fingernails. Then, I carefully
painted the pupils and the shading
surrounding the eyes.

Final
I added some final touches to make the subject look more convincing. I used a kitchen sponge
to make small hair-like strokes on the cat’s nose. With just the tip of a thin round brush, I stroked
The red arrows in this black-and-white the paper lightly to create fine lines on the cat’s nose, forehead and a couple of cheek whiskers
image illustrate how my strokes follow the in Imagine (watercolor on paper, 15½x11½). WA
direction in which the cat’s facial hair grows.

Yael Maimon (yaelmaimon.com), of Ashkelon, Israel, is known for her “Cats”

series. Although grounded in realism, her artwork is impressionistic in nature,
traditional yet contemporary. She enjoys painting in a variety of media,
including watercolor, oil, pastel, acrylic and mixed media. Her paintings have
been featured in solo and collective art exhibitions in Israel and abroad, and
have gained international recognition.

ArtistsNetwork.com 19
 &
present:
2018 Pasadena
November 2-4

Melanie Reim

Sponsored by: DRAW, PAINT, CREATE, & SHARE.

with Sketchbook Skool.

Pasadena from November 2-4, 2018 for an inspiring weekend

so much more.
IF YOU LOVE TO DRAW & PAINT, YOU’VE GOTTA JOIN US!

This event will surely sell out.

Reserve your space—at the best price—today.
www.SKETCHKON.com | #SketchKon2018
Brenda Swenson
 ONES
TO
WATCH
Muriel Elliott Mimura Kim Minichiello Allison Syvertsen Ken Weintrub Michael Kowbuz

AFTER YEARS OF INSTRUCTION, DEDICATION TO THEIR PRACTICE

AND WITH AN OPEN MIND TOWARD ARTISTIC EXPLORATION,
THESE FIVE ARTISTS HAVE HIT THEIR CREATIVE STRIDE.
NOMINATED AS “ONES TO WATCH” BY SOME OF THE BEST-
KNOWN WATERCOLORISTS IN THE FIELD, WE SPOKE WITH THEM
ABOUT WHAT GETS THEIR INSPIRATIONAL FIRES BURNING.
By McKenzie Graham

ArtistsNetwork.com 21
 MURIEL ELLIOTT MIMURA
murielmimura.art | Dallas, Texas

T here’s both peaceful tranquility and a sense of immi-

nent transition in Muriel Elliott Mimura’s painting
Relection–Puerto Rico. he water is still, relecting light and
challenge her to overcome her fear of
soft edges. Each pool of color blends
efortlessly into the next, entertaining
shadow on a calm day, but the bird stares boldly at the the viewer with a slightly confusing,
viewer, its wings poised halfway to light. It’s the moment but no less entrancing, upside-down
right before change strikes. view of the world. Each precise stroke
For Mimura, it’s these unexpected moments of joie meets its asymmetrical cousin to make
de vivre, or perhaps more of a je ne sais quoi about water- a complete picture.
color, that draw her to the medium time and again. She “I see painting water as a challenge
calls it “the glow,” and says artists will only ind it by for myself,” says Mimura. “I tend
adopting their own style, her best piece of advice. “My toward extreme realism and inally
breakthrough came the day I stopped trying to copy other settled on painting water the same
artists who paint ‘loose and juicy,” she says, “and accepted way I’ve painted silver and copper in
my own style.” the past. I just paint what I see.”
Conidence in artistry is half the battle, but challenges Before Mimura can begin painting,
will still come. For Mimura, it’s those pesky edges. “I’m still she plans, using pictures from her
struggling with getting more soft edges into my work,” she travels. “I work from my photos, some
says. “I’m inspired by John Salminen, Dean Mitchell and of them taken long before I start a
Paul Jackson because their work is representational, but painting,” she says. Once she picks the
still uses masterful soft edges.” appropriate scene, she crops the image
In both Relection–Puerto Rico and her harbor scene, to the composition of her choice and
Relection–Newport, OR, it’s unsurprisingly the water uses Photoshop to analyze the photo.
relections that are Mimura’s favorite parts, although, per- “For a full-size painting, it may take me
haps ironically, it’s these very parts that most demonstrably 16 to 24 hours to create my drawing.”

“Great technical
command and
attention to detail
are evident in
Muriel’s paintings.
Her work has the
credibility yielded
by close
observation of
a variety of
subjects.”
– JOHN SALMINEN

22 Watercolor artist | DECEMBER 2018

 LEFT
Reflection—
Newport, OR
(watercolor on
paper, 22x15)

OPPOSITE
Reflection—Puerto
Rico (watercolor on
paper, 15x21¼)

Mimura creates the drawing on Once the drawing is transferred, Mimura starts in with
tracing paper before she transfers it colors. “I lay down light washes of native colors to keep me
to watercolor paper and builds up from getting confused by the details of the drawing, some-
the painting with layers of paint. times starting with an underlayer of yellow or pale red.” In
“I create the drawing on tracing paper fact, it’s often the colors that most fascinate the artist, and
for two reasons,” she says. “First, in Relection–Puerto Rico, the scene’s unusual combination
I don’t like to erase on watercolor of yellow, gray and brown is what initially drew her to it.
paper. Second, if I mess up the paint- hese types of exciting color combinations are waiting to
ing, I can go back and transfer my be discovered, and Mimura is actively searching for them
drawing again.” all the time.

ArtistsNetwork.com 23
 KIM MINICHIELLO
kimminichiello.com | Windermere, Fla.

W ith a multidimensional back-

ground in textile design, Asian
culture studies, concept design for
Disney, and travels near and far, the
question isn’t what inspires Kim
Minichiello; the question is what
doesn’t. Her paintings are often
teases—snapshots and tight composi-
tions that seem like the beginning of
a story with an open ending.
Maiko’s Misedashi shows a maiko
with ornate head dressings and just a
glimpse of skin beneath the hair—the
rest having been covered in white
makeup. She stands away from the
gaze of viewers. he background looks
like a pool of swimming koi—a scene
rich with meaning in Asian culture—
and yet it appears to have been done
in chalk, just a quick swipe away from
permanent destruction. he woman is
anonymous but stands centered over
the scene, the chalk like a radiant holy
nimbus around her traditionally
adorned head.
he scene was inspired by a trip
Minichiello took to Kyoto. “I happened
upon a maiko, an apprentice geisha,
and her dresser,” she says, “strolling
down a narrow passage. I was able to
get great photos before she was spot-
ted and surrounded by a crowd.”

“Kim combines Eastern

sentiment with Western
painting technique in
her work. Maiko’s
Misedashi shows an
unexpected viewpoint
and creates a cultural
symbol instead of
a simple portrait
of a maiko.” –ZHOU TIANYA

24 Watercolor artist | DECEMBER 2018

 Between Minichiello’s study of ABOVE years in textile work, combining those lessons with her
Japanese culture and her love of tex- Maiko’s Misedashi newfound appreciation for exactitude. “I use some of my
(watercolor on
tiles, she felt transixed by the idea of techniques from my background in textile arts to create
paper, 24x24) won
painting what she’d seen. “As a design the Winsor & Newton my work,” she explains. “For example, the ish backdrop in
student, I’d always had a fascination award in the Maiko’s Misedashi was created using a method for silk
with the Asian aesthetic for architec- American Watercolor screen printing on fabric.”
ture, fabrics, furniture, products and Society’s 151st Minichiello consciously tries to incorporate Asian cul-
exhibition.
utilitarian items used in the culture,” ture into her work, but some of her other travels sneak in,
she says. When she began working for OPPOSITE too. Les Temps des Cerises is a painting of cherries she and
Disney as an Imagineer, she was asked Les Temps des her husband found in a French orchard in Provence. “I
to travel to Asia to generate design Cerises (watercolor shrieked in excitement at my husband to stop the car so
on paper, 30x17½)
concepts and got to experience her I could marvel at how thickly the trees were laden with
inspiration in person. fruit,” she says. Minichiello especially loved the play of
Now that her cup of inspiration complementary green and red in the scene.
is illed to the brim, Minichiello he joy in Minichiello’s paintings is palpable, no matter
has been focusing on technique by where in the world the scene originally played out, and it’s
attending life-drawing sessions this compulsion to create that keeps her working. “A quote
weekly. “Measuring, comparing and from Walt Disney always rings true to me,” she says. “It’s
focusing on getting proportions accu- ‘he way to get started is to quit talking and begin doing.’
rate while drawing the igure have In other words, show up and do the work. It’s the only way
improved my work immensely,” she to get better. Experiment, play and develop your own
says. Yet, she still harks back to her style. he more you paint, the more you’ll love to paint.”

ArtistsNetwork.com 25
 ALLISON SYVERTSEN
ceruleanarts.com | Philadelphia, Penn.

T he title of Allison Syvertsen’s Window View would have

you believe you’re looking at a single scene out of a
building somewhere, but look closer and soon the painting
“Parts of Window View reminded
me a little of the Chutes and Ladders
game, with the idea of being able to
becomes composed of many smaller views within the same visually hop upward from one build-
frame. Pops of color, tiny plants, bits of interesting archi- ing to the next and slide back down
tecture and lots of intersecting diagonals make it hard to along fences and rooftops,” says
look away for fear of missing the next surprise. Syvertsen. “his vantage point was
also appealing because it’s similar to
the views from the El during my com-
mute to and from work—enticing
compositions that I cannot easily
draw and paint from a moving train.”
When Syvertsen isn’t dreaming up
compositions on her way to work,
she’s trying to ind them—with the
help of a viewinder—scouting loca-
tions and determining the best crop
and vantage point for a subject. “he
viewinder helps me to see subjects,
not just places,” she says. “I usually
draw the composition on graph paper,
which assists with issues of size and
placement, and architecture. For my
gouache paintings, I label the draw-
ings with color notations and
descriptions of light and location to
serve as reference for executing the
actual painting indoors.” Although
many painters consider it a disadvan-
tage to work indoors with a reference,
Syvertsen says the practice pushes her
to be more inventive.
he invention doesn’t stop with the
composition either. he artist likes to
play with color for doses of fun, if
unnatural, highlights within the paint-
ing. “I tend to look for moments of
playful color: walls and windows in
Easter egg pinks and blues, candy
colors. Saturated colors, like the bright
red of a door or sign, are like gems,”
she says. “I think that inserting these
artiicial hues within painted depic-
tions of the landscape promotes the
more inventive use of color, and thus
strengthens the idea that you’re not
re-creating nature, you’re re-imaging it
as your own manufactured thing.”
And sometimes it’s those manufac-
tured things, the furthest ones from a
natural scene, that provide just the

26 Watercolor artist | DECEMBER 2018

 LEFT
Window View
(gouache on paper,
14⅞x10⅛)

OPPOSITE
Belt (gouache on
paper, 11x7)

right opportunity for creative reiguring. “Belt isn’t the “Allison edits the visual world down to
most appealing subject matter,” Syvertsen admits. “It’s
nondescript, industrial; there’s a dock somewhere nearby,
solid blocks of abstract color and
as I discovered when I was thwarted by a delivery truck that combines them with a subtle feeling
blocked my view midway through my irst attempt to draw
it.” Still, she was persistent and, with careful cropping, the of light to design recognizable shapes
view became “almost anthropomorphic,” she says. “Because that become urban environments. She
the positive compositional elements are clustered back,
away from the bottom of the frame,” she continues, “the creates a quiet, tranquil and rewarding
fence seems to be holding them in, like a belt, cinching overall effect.” –JAMES TOOGOOD
securely around to keep them from spilling out.”

ArtistsNetwork.com 27
 KEN WEINTRUB
kenweintrub.com | Sierra Madre, Calif.

K en Weintrub takes four sides and four corners, an ele-

mentary everyday shape, and makes them sing with the
complexity of human emotion. Some of them look lat, some
“he day I went into my studio
after returning from a particularly
wonderful travel experience, I found
are painted to convey depth and to hold real space. Some are that the drawings and paintings of
painted with joyful colors and others with somber ones. where I’d been and what I’d seen
Ultimately, the little shapes are only a vehicle for the artist were totally inadequate to express
to tell a story—but it wasn’t always this way for Weintrub. what I’d felt,” he says. “So, instead of

28 Watercolor artist | DECEMBER 2018

 “Ken is so consistently good, and his conceptual abstraction
is inventive and all his own.” –KATHERINE CHANG LIU

painting what I’d seen, I began to Weintrub explains that it’s helpful to engage your own
paint what I felt. Right away I was paintings as a stranger might. his can help you part, tem-
using shape, color, line, value and porarily, with the emotional investment you’ve inevitably
texture to try to express what I was made into your work, clarifying any changes that need to
feeling, rather than making a record take place.
of the places, people and things that Even with the emotional distance, Weintrub isn’t
had elicited those emotions. hat immune to eventual favoritism. In each piece there are
changed everything.” moments of pleasure. “My favorite aspect of Order From
Although the paintings are infused Chaos,” he says, “is some of the visual complexity of the
with meaning, the emotion isn’t hap- piece and the push and pull between latness and depth.
hazardly expressed. What sometimes With regard to Golden Dream, there’s a whimsical quality
looks like eloquent chaos in one of that came from a bit of sumi ink line work, done with a
Weintrub’s works is balanced with carefree hand so as to seem as if the square shapes were
careful planning. “I do pre-plan what casting shadows.”
I’m going to do, sometimes in quite a Weintrub chose the square to represent his ideas on
bit of detail, sometimes in a more paper because it’s accessible to any audience, but holds no
sketchy way,” he says, “but once I start innate signiicance in and of itself to interfere with the art-
painting, I proceed based on the ist’s own important conveyances. Yet, the squares are the
painting itself—what the image is manifestations of real experiences in the world, personify-
becoming and what it needs, how it ing one artist’s daily enthusiasms and sorrows, and will
feels when one looks at it. No plan or likely stir similar feelings in the viewer’s eye. “Technique is
idea is precious, and everything is just the means of application,” says Weintrub. “What one
open to change once I start.” paints, and why, is, in my opinion, much more important.”

ABOVE
Order From Chaos
(watercolor on
paper, 15x22)

RIGHT
Golden Dream
(watercolor and
Japanese mineral
pigments on paper,
15x22)

ArtistsNetwork.com 29
 MICHAEL KOWBUZ
ceruleanarts.com | Philadelphia, Penn.

A lthough dark and at times foreboding, Michael Kowbuz’s

art is actually illed with subtle color. “he subjects I’m
drawn to are usually low-light or high-contrast situations,”
provides these in abundance for con-
trast. In Garage, it’s the lights in the
ceiling and primarily the light shining
he says, “and I adjust my palette accordingly, although I’ve through the window in the back-
found that the more I look, the more color I see. I like how ground, looking as though it’s the
shadows wash over a scene and remove the normal day-to- proverbial light at the end of the tun-
day identity of a thing, and make it strange and magical.” nel. he parked cars add to the overall
he magic of a darkened room is often in the bright efect. In Windshield, the setting sun’s
spots of light, shining through the dimness, and Kowbuz peaceful light sets the mood, while
the oncoming cars’ headlights and the
GPS screen provide Kowbuz’s signa-
ture spots of brightness.
“Using a strong contrast of light and shade, “I enjoy the mood of being inside
along with a limited color palette, Michael this dark compartment with the scene
rolling by outside, like a movie,” says
transforms everyday, often derelict, items and Kowbuz of Windshield. “In one of
urban settings into mysterious, vaguely Charles Schultz’s Peanuts comic strips,
Charlie Brown is under a tree with
recognizable subjects filled with ambiguity, Peppermint Patty, and she asks him,
‘What do you think security is, Chuck?’
creating a strange yet remarkable and He replies, ‘Security is sleeping in the
captivating effect.” –JAMES TOOGOOD back seat of the car.’ He continues on

30 Watercolor artist | DECEMBER 2018

to say that when you’re a kid and ABOVE before, but I’ll suddenly become transixed. I’m more sus-
you’ve been somewhere with your Garage (watercolor, ceptible to these visions when my defenses are down due
ink and gouache on
parents, and you’re on the way home, to exhaustion or hunger. Most scenes are extremely transi-
paper, 8x10½)
you can sleep in the back seat and not tory, so I photograph them.”
worry, because your parents are OPPOSITE With a photo in hand, Kowbuz grids the scene and trans-
upfront doing all the worrying. hat Windshield fers it to paper with a light contour line, continuing with a
changes as an adult, and you can (watercolor, ink and light layer of India ink or even a color wash to establish
gouache on paper,
never sleep in the back seat again.” 6½x10½) lights and darks. He works, unusually, from middle values
Although worrying isn’t a continual toward light and dark ones, bringing light back in with
theme in his art, Kowbuz does say he gouache. “My process isn’t purely rational,” he says. “here’s
enjoys the dark stillness in Garage. “he plenty of weeping and wailing. If a painting is getting too
sliver of a lower level is slightly omi- fussy, I might do something impulsive to take charge. I’ll
nous,” he says. “What’s down there?” lood it with black ink or color, and force myself to paint my
Mystery can propel a painting for- way out, forgetting the photograph. I do this with Nathan
ward, pulling the viewer into the Oliveira’s account of artist Max Beckmann saying ‘More
story and calling for a few more black,’ as he made huge black marks with a dripping brush
moments of careful observation. It’s across an oblivious student’s pretty picture.” Bold moves get
in these moments of curiosity that a bold results, and Kowbuz isn’t afraid to be bold. “At a
discovery is often made. For Kowbuz, certain point, I got over my fears, embraced my gift and got
discoveries in his everyday life lead to down to work. hat’s all there is to it.” WA
inspiration. “I’ll notice things out of
the corner of my eye,” he says, “some- McKenzie Graham is the associate editor of Watercolor Artist,
thing I’ve walked past many times Pastel Journal and Artists Magazine.

ArtistsNetwork.com 31
OBJECT
LESSONS
FOR ARTIST L.S. ELDRIDGE, EVERYDAY OBJECTS BECOME
POTENT SYMBOLS, WHICH—WHEN COMBINED WITH
COLOR AND PATTERN—CONVEY IMPORTANT THEMES
ABOUT THE POWER OF NATURE, THE MEANING OF PLACE,
AND THE IMPORTANCE OF FAMILY CONNECTIONS.
By Rebecca Dvorak

F
or watercolor artist L.S. Eldridge, a painting can begin with a
single word. “River,” “loss,” “home” and “family” are words that
have launched the story of a painting. As she grapples with
what it is that she wants to say with each piece, her thoughts
turn from a single word into word sketches that might be as brief as a
few sentences or as long as a paragraph. Once she knows the story she
wants to tell, it becomes a matter of inding the right objects to signify
the emotions and story she has mapped out.
he start of a painting series, then, is often a highly contemplative
process for Eldridge, as the storytelling aspect of her still life work is
crucial to her craft. “Much like poetry,” she says, “the objects in my still
lifes must be able to represent more than one thing. So, I study objects
and hold on to those that work. I think about the objects a lot. I study
them. I want to know: Is this going to work the way I want it to?”

A FLOOD OF EMOTION
One of the concepts at the core of many of the artist’s pieces is the idea
of water as a powerful force. Eldridge is acutely aware of that power—
both as a positive, life-giving necessity as well as a destructive force.
“Measure” is a series of paintings she began when buildings that had
been in her family for many decades looded multiple times, eventually
reaching the point at which they had to be demolished. hese loods
proved how the power of water can bring about damage and great loss.
A Measured
Eldridge describes her last visit to an old shed that her family had Response
used as a gathering space when she was young. “I approached the shed (watercolor on
on a bright but sultry afternoon,” she says. “Memories looded over me paper, 27x25)

ArtistsNetwork.com 33
 The Measure of Tools
(watercolor on paper,
24x24)
just like the river that had looded the torn down, but its spirit came home
shed over the years. As I stood in the with me.”
doorway, I contemplated the times of Eldridge remembered that her fam- of vintage tools she took with her that
fellowship that had taken place there. ily had used the shed to maintain an day as symbolic stand-ins. When the
Soon to be torn down, the timbers of antique model-T car and that neigh- light hit the setup of tools, she was
the shed would no longer be there to bors, friends and family often would convinced she could convey the signii-
evoke warm remembrances. Inside, a come by to say hello. Because her cance of the subject and her sense of
slight breeze picked up dust that father was in the military, her imme- longing for what was no more.
served as a halo to the room. I took diate family traveled and moved In the background of A Measured
measure of my surroundings—this frequently throughout her life, but Response (on page 32), she paints
simple sanctuary—illed with tools she often thought of this barn—and wood grain to suggest the timber, or
that felt like jewel-hued, shiny trea- the sense of community and “home” character, of the barn as well as the
sures. I reverently collected a selection that it had created. tangible material of the structure.
of items to take with me as I exited for Eldridge depicts the loss she felt at Even though the content of paint-
the last time. he building was indeed the destruction by painting the cache ings in the “Measure” series is rather

34 Watercolor artist | DECEMBER 2018

solemn, Eldridge paints them with a Eldridge’s go-to color for the look for this tool in her pieces and
bright, piercing palette. “Loss,” she “Measure” series is green-gold. She covet the versions that feature this
explains, “is such a sharp emotion. loves the interaction of light and special green symbol.
he only way to depict it is with really shadow that mixes beautifully in this Eldridge feels steadily energized by
bright colors. hough the tools I found particular color. A pair of green pliers this subject matter. hough many of
in the shed are scratched, faded and that were given to her as a gift her series consist of three to ive paint-
burned, the memories are vivid. hus, appears in a number of the “Measure” ings, the “Measure” series currently
I portray the tools as practically new.” paintings. Her family members now includes 17 pieces and counting.

15

3
2
1
4 5 6

12 8
13
11
7

9 10

14

Artist’s Toolkit PICTURED ABOVE

• Cleaning eraser (1), watercolor paint (2), a Mexican sugar
PAINTS
mold for paintbrush storage (3), distilled water (4), squeeze
• Daniel Smith’s perinone orange; Winsor & Newton’s green
bottle for wetting paint (5), drafting brush, erasers (6),
gold; Holbein’s royal blue; Daler-Rowney’s cobalt violet;
embossing gun for fast drying (7), drafting and drawing
Schmincke’s yellow ochre; Sennelier’s French vermilion
supplies (8), tape (9), Liquid Masque frisket (10), small bowls
SURFACE
for mixing large amounts of washes (11), a paintbrush holder
• Arches 156-lb. cold-pressed gifted to me by a local ceramic artisan (12), palette (13),
BRUSHES headphones and iPhone (14), watercolor brushes, pencils,
• A range of brushes varying from 00 to 36. My flat X-Acto knife, sharpening stone and toothbrushes (15).
brushes run up to 4 inches wide. A favorite for detail is a • Note: I have a selection of feathers (13), which I sometimes
Loew-Cornell Ultra Round No. 4. use as props, but also use for painting (the quills make
PALETTE excellent scratch marks). Most importantly, though, a feather
• Mijello bulletproof glass is a reminder to be mindful of the amount of water I use.

ArtistsNetwork.com 35
 Simple Measures (below) is a personal MAKING A the artist’s daughter was caught in
favorite. Although she’s happy with it CONNECTION Hurricane Irma in Florida, and
now, it took years to get there. “I’d been In her newest series, “he Ring,” which Eldridge was overwhelmed by the need
painting tin cans for some time and includes Of the Hook and A Weather to hear that her daughter was OK.
never liked the way they turned out,” Eye (at right), the artist again drew he swirling backgrounds of the
she says. “I burned each painting that inspiration from her experience with pieces that currently make up “he
didn’t work until I landed on what I extreme weather. With most of her Ring” series suggest the severe
considered an artful approach to the family living in tornado country, weather. he phone receivers repre-
subject. his painting was the irst Eldridge is accustomed to a hum of sent that excruciating wait for a
result that didn’t end up in ashes.” worry during the season. But, last year, reassuring call from a loved one.

36 Watercolor artist | DECEMBER 2018

 Stepping Out
of a Series

In Line With 19 (watercolor on paper, 34x24)

TOP
Off the Hook
(watercolor on As someone who regularly paints in a series,
TENDING TO DETAIL paper, 24x24) Eldridge finds those times when she works outside
of a series to be invigorating in a different way.
Although she’s primarily a watercolor ABOVE For the painting, In Line With 19, for example, the
artist, Eldridge also has interest in A Weather Eye artist chose subject matter that was quite a bit
etching and embroidery. he thread (watercolor on different than what she usually paints. “I liked
between these various artistic meth- paper, 24x24) that it had some abstract elements that were a
ods is the artist’s extreme attention lot of fun to paint and are interesting and unique.
OPPOSITE It has some really fun placement of color, and yet
to detail and her methodical approach. Simple Measures it stays true to my realism roots,” she says.
Her colorful, many-layered pieces are (watercolor on
Eldridge did the painting specifically for her
a product of painstaking labor. Her paper, 25x23)
eldest daughter—a recollection of a time they
watercolor paintings used to be much shared together in New York City. “We rolled out
looser, but over time she has tight- early that morning in order to catch the sunlight
ened her style. that had been so elusive up until then,” she says.
To that end, Eldridge has found it “I was captivated by the iron filigree, caught up
useful to draw quick thumbnails in the warp and weft of light and shadow.”
before painting. She then sets up her

ArtistsNetwork.com 37
 still life on a large homemade turn- preparations, it’s a joyful moment. spends about 200 hours on each work
table in her kitchen studio. “My I enjoy the play of paint and paper.” and can typically spend eight hours
kitchen has a north-facing picture Her watercolor brands of choice on any 3 inches. his is partially
window that provides perfect light,” include Daniel Smith, Holbein, Winsor because she paints numerous layers.
she says. “I added a glass top to the & Newton, Schmincke and Sennelier. “here are some areas of my paintings
wooden table which works perfectly When she puts her palette together, that have as many as 15 to 20 layers,”
for me.” she looks for single-source colors that Eldridge says. “It’s how I play with
Eldridge plays with the object place- have excellent lightfast ratings. transparency—starting from
ment and light source for extended he irst step is to block in the extremely pale and moving to rich,
periods and then photographs the background color. She then contin- intense color. I believe it imparts a lot
arrangements she likes best. Next, she ues by completing the core of the of depth.”
graphs her photo and draws it onto her painting one section at a time. She On some pieces, the artist will also
paper. Although she has been experi- doesn’t necessarily move from right use copious amounts of frisket. For
menting with other papers recently, to left or left to right but will instead the handle in Entwined (at right), for
she generally uses Arches 156-lb. cold- work on whatever section interests example, she used close to half a bot-
pressed paper. “Beginning to put paint her at the time. tle of masking luid.
to paper is my favorite part of the pro- Eldridge estimates that once she In the inal stages of the painting,
cess,” Eldridge says. “After all the gets started on a piece, she usually she’ll inish the background details.
Her last step, though, is to use a
sticky note to list everything she
thinks needs tweaking. When she
“Much like poetry, the objects in completes the changes, she looks
again, doing this repeatedly until she
my still lifes must be able to feels certain there’s nothing left to do.
“he greatest struggle,” she observes,
represent more than one thing.” “is calling it done.”

38 Watercolor artist | DECEMBER 2018

READY FOR THE Meet the Artist
NEXT STORY
hough she doesn’t paint every day, L.S. Eldridge, of Rogers, Ark., has been interested in art
Eldridge is constantly contemplating since childhood. “For my seventh birthday, I asked my
the stories she wants to tell in her parents for a bike and to visit the Tate in London,” she
says. She studied art at the University of Central
work. Some days she may write. Some Arkansas, working in acrylic, oil, printmaking,
days she may draw. “But the best days,” watercolor and mixed media. She worked as a freelance
she says, “are when I paint.” WA designer and technical writer for a textile publication,
and then, in 2010, decided to focus her time exclusively
Writer and editor Rebecca Dvorak, of on watercolor painting. She’s a signature member of the
New York City, studied art history in American Watercolor Society, National Watercolor
Society, Transparent Watercolor Society of America and Northwest Watercolor
college. She has interned with Galeria Society; a Sylvan Grouse Guild signature member of the Pennsylvania
Cartel, in Granada, Spain; D.C. Moore Watercolor Society; and a Diamond signature member of the Mid-Southern
Gallery, in New York City; and he Watercolorists. Her work has been included in the Splash book series, volumes
Metropolitan Museum of Art. 15, 16, 17 and the latest, Splash 19: Illusion of Light (North Light Books, 2018).

CLOCKWISE FROM
OPPOSITE
The Second
Measure (watercolor
on paper, 28x21)

Made to Measure
(watercolor on
paper, 29x24)

Entwined
(watercolor on
paper, 22x22)

ArtistsNetwork.com 39
SEAN FRILOUX RELIES ON TONALISM AND A SENSE OF AIRINESS
TO EVOKE MYSTERY AND MOOD IN HIS SOUTHERN CITYSCAPES.
By Maria Seda-Reeder
 The
Space Between
 N
ew Orleans-based artist Sean sell their original 2-D work on the square’s iron
Friloux views painting as his fence any day of the week. hat kind of a loca-
calling. he former graphic tion is great for someone just starting out or
designer left his corporate job in experimenting, Friloux says, because it provides
Pittsburgh, Penn., six years ago the opportunity to receive immediate feedback.
to paint full-time. What had he artist loves painting and works at it six
started out as a hobby has become, according to days a week, eight hours a day, and often inds
Friloux, “just what I do.” himself launching into a new idea on his one day
When Watercolor Artist had the chance to of. “I learned that schedule from working in a
catch up with him via phone from his home in corporate environment,” he says. He typically
Louisiana, Friloux had just returned from the completes 20 to 25 paintings a month, which he
third annual Plein Air Festival in Eureka Springs, works on one at a time, completing each before
Ark., where he’d won the People’s Choice Award. moving on to the next one.
“I never run out of ideas and directions,”
Friloux says. “At this point, I’ve found my style
An Airy Style and where I want it to go.” What is his style?
Friloux moved to Pittsburgh from New Orleans Friloux describes it simply as “airiness.”
as a teen and took a corporate job working in
design after college. But a trip back to New
Orleans more than a decade ago changed every- Achieving Maximum Impact
thing. While back in he Big Easy, Friloux When looking at Friloux’s work and listening
discovered the open-air artist colony at Jackson to him talk about it, it becomes clear that he
Square, where up to 200 local artists display and isn’t a painter of things as much as the spaces

42 Watercolor artist | DECEMBER 2018

 “I NEVER RUN OUT OF IDEAS AND DIRECTIONS. AT THIS
POINT, I’VE FOUND MY STYLE AND WHERE I WANT IT TO GO.”

between them. One hint is the artist’s explicit transparent and opaque layers—the yin and yang
dedication “to explore light fully for maximum of hard and soft lines. I’m more of a tonalist
impact.” He continues, “Light is important, than a colorist. To me, tone is more important,
because it’s a play on the darks.” Friloux paints a because it really creates the painting.”
lot of nocturnes, but even many of his day scenes Similar to how black-and-white photography
feature extreme shadows, which results in a dra- has a lot more contrast than a color photograph,
matic chiaroscuro efect. so, too, his painting uses a more tonal than
In fact, although watercolor paintings tradi- color-based approach. his allows Friloux to
tionally are painted from light to dark, Friloux intensify the moody contrast between darks
admits that sometimes he works backward: and lights in his paintings.
painting the dark parts irst and going back in to
“carve out” a lighter section with a paper towel
or clean brush. “It has to be done on very strong A Thoughtful Approach
paper, though,” which is why he says he uses to Color
only Arches 140-lb. rough—a surface that Friloux began his career by painting cityscapes,
“seems to be a little stronger at holding up.” and then moved on to nocturnes before tackling
Friloux typically uses only Daniel Smith plein air, which is his focus these days—although
watercolors because of the way they blend and he also enjoys painting more intimate interior
mix. he colors he selects allow him to achieve scenes, such as Galatoire’s (at left).
more intense tones in his paintings. Depending Many artists in New Orleans paint what
on how many layers he puts down and the way Friloux describes as “hyper-colorful paintings
he mixes the colors, Friloux says, “I can get both inspired by music.” By contrast, his work is more

ABOVE
Galatoire’s
(watercolor on
paper, 15x22)

RIGHT
New Orleans
(watercolor on
paper, 52x44)

OPENING
SPREAD
Café du Monde
(watercolor on
paper, 15x22)

ArtistsNetwork.com 43
 subtle. “I’m not painting to emulate something Color of the Night
I see, but to create an inviting mood—a scene For scenes with deep shadows, Friloux never uses black;
that’s more calming—intense, but calming.” instead, he relies on Prussian blue, which he gradually
In creating this engaging atmosphere, the art- builds up in large, dark swathes of color. Adequate
ist says he just uses the colors that he encounters drying time between layers is also critical. “There’s a
around the city. “Blues are very calming,” Friloux fine line where it can get dull or muddy,” Friloux says.
says. “Reds can be moody and rich. Greens look
nice outdoors, but I never paint trees green.
“hey’re always gray, with some blues and a little because it takes “forever” for a full sheet to dry
brown in them.” One has to be thoughtful in the between layers of color; he typically puts down
use of color, he says, especially when adding 20 to 30 layers of paint for a piece. “I like to
color to night paintings such as Café du Monde paint on 15x22-inch paper, because anything
(on pages 40-41). larger takes so long to dry,” the artist says.
Friloux’s meticulous attention to tonal colors With the deep shadows he’s so fond of depict-
can be seen in Mississippi River Tugs and Ships ing, Friloux uses contrasting color and shape—
(below)—a nighttime river scene from the per- instead of other intense colors such as red or
spective of a tugboat pilot friend of the artist. purple, which might compete with those darker
Two large ships on either side create wakes of shadows—to create focal points. One example is
water upon which we see relecting lights. Royal St. Musicians (opposite), in which the bells RIGHT
Friloux built up nearly transparent layers of of the brass instruments played by his subjects Royal St. Musicians
the sea-foam green, blue and gray tones in the create a tunnel efect that attracts the viewer’s (watercolor on
painting to depict water that looks like you eye. “It’s also a play on the shapes,” he says. “he paper, 15x22)
could reach out and touch it. To achieve the rich circles break up the vertical lines and squares of
BELOW
tonal layers of color, Friloux doesn’t paint wet- the surrounding buildings and architecture, Mississippi River
into-wet, but rather wet-on-dry. He starts dry serving as a place for the eye to rest.” Tugs and Ships
(watercolor on
paper, 15x22)

44 Watercolor artist | DECEMBER 2018

The Biggest Accomplishment Meet the Artist
Friloux’s background in graphic design serves his career in painting, but
he nevertheless regularly tends to break the rules of composition. “hat Sean Friloux
might just be me developing my style,” he says, “but it’s a process, an always (seanfriloux.com)
evolving thing. As it is now, I’m starting to be identiied with the work I’m graduated from
the Community
creating. People say, ‘Oh, that looks like a Friloux painting.’ To me, that’s the College of
biggest accomplishment.” Allegheny County,
In fact, the artist has so much commission work these days that he rarely in Pittsburgh, Pa.,
goes to Jackson Square to sell his paintings anymore. Instead, he’s reached a with an associate
point at which his clients support his work either by purchasing through his degree in graphic
website or connecting with him via email. design. After
Early on in his painting career, Friloux had hesitations about selling his spending years in a corporate setting,
he studied under the tutelage of
work in a public open air market. But, since taking that leap of faith and watercolorist Joseph Zubkivic in 2014-
redirecting his profession six years ago, he thinks he has done well. “I work 15. Now working as an artist full-time,
more at it, being self-employed,” he says. “I love what I’m doing, so that Friloux uses watercolor, charcoal and
helps. Hopefully, things will just keep getting better every year.” WA oil to explore light for maximum
impact. He’s been featured in several
Maria Seda-Reeder is an arts writer, independent curator and adjunct professor publications and has exhibited in the
United States.
of art at the University of Cincinnati and the Art Academy of Cincinnati.

ArtistsNetwork.com 45
 Chaos
and
Order
T
hree powerful forces converge in Moh’d
Bilbeisi’s watercolors: a passion for
geometry, a delight in the free move-
ment of watercolor and an ebullient
physical energy.
In paintings that range from interiors
to lowers to cityscapes, the artist pres-
ents his subjects in lux, their forms and outlines edited
and sometimes distorted as they emerge from a lurry of
calligraphic strokes and dissolving blooms of watercolor.
Direct, fresh and decisive, these works harness water-
color at its most pure, using its natural inclination to
soak, lood and bleed in a free and open fashion.
“I’m interested—and only interested—in harnessing
the natural disposition of the medium to communicate
the idea or the message,” says the artist. “I believe
that watercolors demand that their wetness, luidity,
chromatic interaction and application express their
nature, which is suspended colored particles in an
aqueous solution.”
Of course, the challenge for Bilbeisi—and any water-
colorist—is to allow the medium its freedom while
manipulating it to achieve the desired image. In other
words, the artist must strive to balance chaos and order.
“I favor precision, but not accuracy,” says Bilbeisi. “I also
favor looseness versus rigidity. Painting the thin line
between the chaotic nature of the medium and the rigid
nature of shapes is what distinguishes watercolor paint-
ing from other artistic modes of expression. Chaos and
order are two sides of the same coin. Favoring one ver-
sus the other is limiting and prescriptive. I opt for a
mediation in which they coexist.”

Abraham at Madaan
Saleh (watercolor and
ink on paper, 9x14)

46 Watercolor artist | DECEMBER 2018

ARCHITECT AND ARTIST MOH’D BILBEISI MASTERFULLY BALANCES THE
UNPREDICTABILITY OF WATERCOLOR WITH HIS DESIRED RESULTS FOR WORKS
THAT SPRING TO LIFE. By John A. Parks

ArtistsNetwork.com 47
 RIGHT
La Mezquita (watercolor
on paper, 11x15)

BELOW
Hydrangea (watercolor
on paper, 15x22)

SKETCHING FOR SUCCESS vertical and liveliness in the drawing

While Bilbeisi enthusiastically embraces the luid nature of watercolor, he’s of arches. A “correct” architectural
adamant that a successful work begins with sketching. As a highly trained archi- drawing would be very diferent. A
tect and professor of architecture, he has a strong feeling for geometry and similar luidity and license with form
structure. “Everything in nature emerges from geometry,” he says. “Many miss and shape appear in the artist’s
the point that a good watercolor always begins with a good sketch—not a draw- sketching of other subjects, which
ing, but a sketch.” include lowers, cars and motorcycles.
Bilbeisi considers a drawing to be a careful and objective study, while a “I use a 2B Japanese wooden pencil
sketch is a freer, more personal response to a subject. “It needs to be interpre- to sketch the outline and some details
tive, not descriptive, and edits the topic so as to achieve a notable focus,” he of the subject in a continuous contour
says. his approach can be seen in an architectural subject like La Mezquita line,” says Bilbeisi. “It provides me with
(opposite), in which the swift sketch allows for columns that aren’t really a road map for where to start, where to

48 Watercolor artist | DECEMBER 2018

 Toolkit
SURFACE
• Fabriano Artistico 140-lb. cold-
pressed. “I experiment with
different papers and tend to
value the consistency of
Fabriano in terms of
fabrication and its reaction
to washes,” Bilbeisi says.
PAINT
• Winsor & Newton Artists as
well as some Daniel Smith and
Sennelier. “I never use fugitive
hues,” he says. “They tend to
give instant gratification and
then absolute sorrow in a
couple of years.”
BRUSHES
• A good kolinsky sable brush.
“Use it, wash it and love it.
Also, Escoda and Da Vinci are
amazing brushes. Since there’s
no standard for brush sizes,
I use three brushes: large,
medium and small. That’s it.”
PALETTE
• “A well-crafted and spacious
palette is a must,” the artist
says. “I use a custom-made
brass palette by my good
friend, Steve Fanelli.”

end, how far, and how long. I always do a super-fast value sketch to determine EMBRACING
three important factors: where is the highest [lightest] value, the lowest value and THE PROCESS
the middle value, which, in my opinion, is the most important. his is where the As for building his paintings, Bilbeisi
magic happens.” proceeds with a very open approach.
“I do my best to paint the high values
irst as much as I can,” he says, “but
JUMPING IN usually, I paint all three values [dark,
Bilbeisi proceeds with a direct approach when he begins painting. “I don’t pre- medium and light] simultaneously.
mix my paint on the palette, and I don’t prepare the aqueous solution prior to I don’t glaze; instead, I prefer to apply
application,” he says. “his is challenging as a technique, because it’s unforgiving the paint as is and feather the edges
and favors smaller compositions. I do the application and the mixing on the as needed with a clean brush.”
paper. I apply the paint in fast strokes, putting a lot of emphasis on using the he excitement of handling so
brush efectively. his involves understanding when the paint needs to be thin, many elements in real time is clearly
thick, wet or dry. I also have to be aware of how much speed to use since it an attraction for the artist.
afects the appearance of the line. And, I must control the motion of my wrist “Transparency, luidity and unique
because it afects the mopping efect of the brush.” topical expression are what I love
All of these actions and adjustments take place in a short expanse of time, about watercolor,” he says. “What’s
and a successful outcome depends on skill, touch, sensitivity and visual judg- challenging about them is managing
ment developed over many years of painting. the diferent variables that afect the

ArtistsNetwork.com 49
 COUNTER
CLOCKWISE
FROM LEFT
Tornado III
(watercolor
on paper, 11x15)

Sunflower II
(watercolor
on paper, 11x8)

Black Iris
(watercolor
on paper, 11x8)

Suzanne II
(watercolor
on paper, 11x8)

inal result. he type of paint, the amount of

paint, the amount of water, the paper, the
brush, the humidity, the temperature, the
wind, and, of course, the technique, all need to
be managed to produce an acceptable painting.”

MASTERING THE BRUSH

Bilbeisi’s love of watercolor began when he was
an architectural student. “During architecture
school, we were encouraged to use acrylics and
apply the acrylic paint through an airbrush,” he
says. “If we couldn’t aford an airbrush, we’d use
contact paper to mask and then apply the acrylic
paint with a lat brush. It was time-consuming
and required a lot of prep time that we didn’t
have. Watercolor painting is the easiest to start
and the hardest to master. Quickness, prep time
and precision led me to using watercolor to
render my boards at the school of architecture.
“I started with ink washes, in which the draw-
ings are delineated through gray value applied as
shades and tints,” he continues. “here was very
little room for modulation and error. I remem-
ber my professors asking us not to use water-
colors unless we knew how to paint with them.
I produced a lot of awful renderings until I
started to come to grips with the medium and
its application. Learning from my failures and
few successes was instrumental in my maturity
as a watercolorist and as an architect. Yes, it

50 Watercolor artist | DECEMBER 2018

On the Road
Bilbeisi’s travel tools reveal his artistic
sensibilities in miniature. The tiny
palette is awash in freely mixed color,
flirting with chaos. Meanwhile, the
sketchbook features gridded pages,
offering immediate order. The painting
employs both clear, intelligently
controlled line, and energetically
delivered paint. An architectural space
is thus explored in a lively fashion.
Finally, the sketch is labeled in bold,
handsome lettering, a legacy of the
artist’s early love of calligraphy.

ArtistsNetwork.com 51
 took more time, but it resulted in mastering the brush through calligraphic training. I learned to use one brush-
a better, unbiased understanding stroke to produce a modulated line that’s thin and thick at the same time.”
of the medium.”
Part of Bilbeisi’s success with lively
linear brushing, with its shifting GEOMETRICAL EFFECTS
thicks and thins, comes from his early While the underlying sketching in Bilbeisi’s work is highly personal, there’s also
interest in calligraphy. Born and a powerful presence of geometry. Sometimes he even adds additional geometry
raised in Jordan, he studied Arabic to the background in the form of a rectangular shape.
calligraphy for two years. “he tyranny his can be seen in many of his lower paintings (see previous page), in which a
of the rhomboid dot and the sinuous colored rectangle is placed behind the subject. “I call it a graphic frame,” says the
movement is ingrained in my soul and artist. “In efect, a rectangle substitutes for the background, and its presence
comes across as strokes in my work,” brings the subject forward, separating it from the surface. It gives a greater sense
he says. “here’s no substitute for of depth and supports the image.”

52 Watercolor artist | DECEMBER 2018

 Old Jabal, Amman
(watercolor on paper,
15x22)

Key
Influences
As a proponent of physical
strengths of watercolor, it’s
hardly surprising that
Bilbeisi names J.M.W. Turner
(1775-1851), the great
English master, as one of
his primary influences.
Turner was a master at
creating light, depth and
atmosphere with the
movements of transparent
paint. Bibeisi also names
Vermeer (Dutch, 1632-1675),
whose command of
geometry in composition
he finds impressive.
Among contemporary
painters, he cites American
watercolorist Thomas W.
Schaller and Australian
painter John Haycraft, both
painters whose handling of
color he admires. In talking
more about color, he
considers Johannes Itten
(Swiss, 1888-1967), the
Bauhaus color theorist, as
a further influence.

Although Bilbeisi’s work is representational, it achieves forms as much through that my architectural education and
the power of suggestion as through description. A work like Old Jabal, Amman practice inluenced me as an artist,
(above), for instance, presents a view of a densely packed city. On closer inspec- I also believe that my artistic inclina-
tion, we discover that the entire image is built from paint blobs, dashes and tion heavily inluenced my archi-
spatters. here’s almost no detail at all, so the viewer is obliged to ill in the gaps tectural practice.
from the clues provided. “It’s important that the painting is enticing enough to he combination of architectural
convince the viewer to give more time and attention to it,” says the artist. and artistic sensibilities is evident
in the artist’s painting of Stonehenge
(page 55). Here, Bilbeisi renders
ARCHITECT AND ARTIST the massive blocks of the standing
he many architectural subjects in Bilbeisi’s portfolio bear witness to his profes- stones as decisive geometric shapes,
sion as an architect, which complements his work as an artist. “I see myself as building across the composition to
both, which is strange,” he says. “Both interact seamlessly, and as much as I believe form a powerful wall of form. he heavy

ArtistsNetwork.com 53
 Tips for
Beginners
Master sketching first and value
recognition second. This is very
important. I spent dozens of
years doing ink sketches prior to
doing watercolor professionally.

Focus less on the technique.

Instead, concentrate more on
the communication of the topic:
the subject matter.

Avoid clichés and create your

own brand that only you can
produce. It takes time, but it’s
meaningful and proper.

Don’t fall in love with your work.

I see many watercolorists on
social media sites posting work
that’s obviously weak and yet
commenting that they’re happy
with the way it turned out.
Teach yourself to recognize
quality and seek it with passion.
Not everything I paint or sketch is
amazing. If it’s good, I keep it; if
it’s not, I learn from it and then
feed it to the fireplace.
—Moh’d Bilbeisi

SUBJECT VS.
TECHNIQUE
“I react to what occurs around me,”
Bilbeisi says, “and communicate this
reaction through watercolor.
Technique is secondary to the topic.
What I paint is beauty as transmitted
through lowers. I paint nature’s
chiaroscuro adds to the sense of monumentality and allows for the drama of the anger and fury through landscape and
almost-otherworldly light emanating from the sky behind. It’s a personal and weather. I paint the kindness and
afecting response to the monument, even though it’s far from an accurate hatred transmitted through the faces
topographical drawing. of people.”
“I had always imagined being alone with these enormous stones out on the In Bilbeisi’s view, the subject mat-
plain, but, in fact, there’s a fence around them quite a long way back, and then ter gives rise to the technique, and
crowds of tourists taking selies, so I had to be creative in my approach.” he he’s prepared to adapt his painting
painting appears to be both an account of the monument and an exploration of approach to accommodate whatever
the artist’s expectations and feelings. he resulting combination is both con- subject happens to interest him. “I’m
vincing and moving. constantly inundated with questions

54 Watercolor artist | DECEMBER 2018

about how I create a certain shape,
what’s the technique, what kind of
Meet the Artist
paper, brush, or secret tools or moves Moh’d Bilbeisi (mohdbilbeisiart.com)
was born in Jordan and emigrated to
I use,” he says. “I can’t answer these the United States as a teenager. He’s
questions. I want viewers to experi- a licensed architect and a professor
ence the subject matter through my of architecture at Oklahoma State
lens. hat’s all I want. What matters University. His teaching subjects include
is the depth of the topic, not the tech- design, the theory of representation and
nique. he subject matter is fueled by the history of Islamic architecture. His
personal experience, education and paintings have been collected by a wide
audience in the United States and abroad.
lack thereof, and passion. he tech- In addition, corporations and other entities such as Ducati USA, BMW,
nique is important, but it’s the spawn SKFGroup, Oklahoma State University, Emirates Air and Hilton Intl. have
of the artistic subject matter. What utilized his talents for graphic illustrations and ads. He’s also a noted author of
I do in terms of technique won’t work several books, including Graphic Journaling (Kendall Hunt Publishing, 2009).
for others if they’re painting a difer-
ent subject.”
a language that transcends racial OPPOSITE
barriers and puts humanity and its Cordoba (watercolor
A DIFFERENT shared attributes irst and last.” WA on paper, 22x15)
LANGUAGE BELOW
As for the inal impact of his work, John A. Parks (johnaparks.com) is Stonehenge (watercolor
Bilbeisi sees it as an act of sharing. a painter, a writer and a member of on paper, 11x15)
“All I’m doing is trying to communicate the faculty of the School of Visual Arts
with others in a diferent language— in New York.

ArtistsNetwork.com 55
Burning Question

What paint color

are you loving
right now?

Carol Carter
The color I’m loving now is Da Vinci’s quinacridone gold, which seems to brighten
up even the dullest passage with glow and warmth. It’s natural and organic, and
seems to work nicelyy with horses or landscapes.
p Ig generall add the old before I
paint with a more intense color, such as red, green, g
shines through and makes each h passage come alive.

Carole McDermott
I’m loving Winsor & Newton’s I cannott get enough
permanent rose; it’s a of Danieel Smith’s
showstopper! I tint it with shadow violet. This
white and often play it dark-value mauve
against a strong navy blue creates co lorful
in my abstracts. For my shadows. I n wet-into-
more representational work, wet applicaations, the
burnt sienna and color separrates into
ultramarine blue are my three pigm ents: The
go-to base for grays, and pyrrol orang ge literally
permanent rose warms the floats on to p of viridian
grays. I try to ask myself, “Will and ultrama arine blue.
this pink simply decorate my Well-timed b ackruns
painting or make the piece and blossom s create
stronger?” It’s always a tough additional sepparation. It
question, but the permanent looks so yumm my, you’ll want
PHOTOS BY AL PARRISH

rose seems to lighten the to eat it—but p lease don’t

mood and make me happy. eat your paints .

terccolorr a s | C EMB
M R 0
Bev Jozwiak
The most recent additions to my palette are
Holbein’s lavender and Janet rose violet by
American Journey. I’ve been using the rose violet
in skin tones. The lavender is a creamy pastel
color—a little more milky white than most transparent
watercolors. Thinned down, it can be quite
transparent. Or, I can apply it thickly as an opaque.
I’ve been using it with Winsor & Newton’s Naples yellow
in skin tones with some exciting results.

Judi Betts
More than loving one color, it’s the
relationship of one color to another
that I love. Because we see colors in
relationship to other colors, it’s
important to invent color chords.
After I’ve established a basic color
chord in a painting, I study the
piece and let it tell me where to
accent with small amounts of
clean, clear color. Some of my
favorite accent colors are American
Journey’s cadmium orange,
Da Vinci’s manganese blue,
Daniel Smith’s quinacridone rose
and Grumbacher’s emerald green.

The gradation of
“
one color to the next
is like hearing an
orchestra build toward
a crescendo. I can
hear color! —Judi Betts
” ArtistsNetwork.com 57
 Burning Question

I typiccally resist adding new paints to my

palette, but one of my workshop students
recommmended Daniel Smith’s quinacridone
burnt scarlet a while back, and I’m really
enjoyying it. It’s a nice halfway point between
alizarrin cri son and n burnt sienna. Because it’s
not en ir , creates a beautiful granular
g w th c ru
wi da
Mario A. .
h

Robinson
The color I’m loving right no i W nsor
& Newton’s Payne’s gray. n myself
using this color more frequently in
fleshtones to create cool shhadows. The
onditions on a
effect of various lighting co
model’s skin dictates my usse of certain
colors, while managing wa arm and cool
g to hav
temperatures. It’s gratifying have a
color on my palette that I can
c use to
glaze over fleshtones in ordder to adjust
the coolness of a particular area.

Kristi Grussen
Lately, I’ve been
loving a rich green Ian Ramsay
made by Daniel While rapidly playing around as
Smith called I usually do with color, I came
green apatite across a useful combination in a
genuine. Granulation recent painting or two. To add
makes me swoon, and glow and a sense of weathered
this paint does it age, I’ve been using a mix of
beautifully. Although it’s a Daniel Smith’s quinacridone
pretty natural-looking foliage gold and permanent yellow
color all on its own, it deep. It draws attention, warms
plays very well with up the piece and glowingly ages
other colors. Mixed with a surface—especially in my work,
a complement, such as in which I seem to instinctively
alizarin, you can get a want to suggest an earlier time.
lovely neutral.

58 Watercolor artist | DECEMBER 2018

 Stay Safer & More Independent
with a Jacuzzi® Luxury Walk-In Bathtub
SAVE $1,500
on your NEW Walk-In Tub
with ONE DAY installation

Don’t let mobility concerns end your ability to enjoy

a relaxing and therapeutic bathing experience

NEW!
 NEW! Epsom salt compatible with
Low Entry Step hydromassage relaxes the mind and body
8LIWEJIX]JIEXYVIW SJ XLI
.EGY^^M® Walk-In Bathtub
 NEW! $TXLHWHUDQGHQHUJ\HI¼FLHQW
LIPT[MXLQSFMPMX]MRERH
pump provides a more enjoyable
SYXSJXLIXYFERHEPWS bathing experience Epsom Salt
LIPT]SYJIIPQSVI Compatible
WIGYVIERHMRHITIRHIRX  NEW! Relaxing Bubble Foot Massage Now enjoy the
[LIRFEXLMRKEXLSQI
 NEW! Heated back and seat for more relaxing health
comfort and relief FIRI½XWSJ)TWSQWEPX
in your tub without
Enjoy Legendary
Jacuzzi® Jet  PLUS! Installation in as little as XLI[SVV]SJVYWXSV
HEQEKIXS]SYV
Technology one day available! XYF´WGSQTSRIRXW

CALL TODAY & SAVE $1,500

Call now for limited-time savings on your new Walk-In Bathtub
and details on installation that takes as little as ONE DAY!
Call: 1-888-315-5170 or visit: www.JacuzziWalkIn.com

The NEW Gold Standard of Walk-In Bathtubs

 Creativity Workshop

My Nigerian Watercolorist
Buddy, Ibe Ananaba

Pocket Paintings (watercolor on paper, 11x15)

Go small for big payoffs when it comes to composition,

color and value exploration.
By David Lobenberg

a fter many years of painting

naturalistic watercolor por-
traits, I decided that I wanted
to make a radical change. I aspired to
a more energetic, colorful and edgy
I remembered reading an oil paint-
ing book authored by well-known
American artist Kevin Macpherson.
He wrote that a quick and easy way
for developing composition, color
I began working on 7½x11-inch
sheets of watercolor paper cut from
a standard 22x30-inch sheet; I could
get eight pochades from one sheet.
Using this diminutive size, I was able
look. What I needed was a path and value control resulted from to experiment with a wide range of
toward this goal that would allow doing small pochade (French for diverse watercolor paint application
me to explore painting methods “pocket”) paintings. his was it— techniques, engaging textures, power-
easily with a minimum amount my path for developing a new por- ful compositions and expressive
of intimidation. traiture style. colors. I could explore these

60 Watercolor artist | DECEMBER 2018

approaches relatively quickly and
without the fear of possibly wasting
large sheets of expensive water-
color paper.
Going pochade was indeed the per-
fect avenue for developing a radical
new style. And I eventually named
that style California Vibe Watercolor
Portraiture.™ Over the past four years,
I’ve conducted California Vibe work-
shops from the West to East Coast and
everywhere in between. And at each of
them, I teach and stress the power of
pochade painting.
Give the California Vibe style a
try as a way to quickly explore and
enhance your painting style—one
small painting at a time.

Groove on the
California Vibe
• Start your California Vibe
portrait using one to three
colors. Follow the value
pattern of darks, mediums
and lights using matching
paint consistencies. If you
follow these value patterns
over the face of your subect,
you can be super expressive
with your colors.
• Follow this general rule of
thumb when painting facial
values: Light-value areas need
to be painted with a trans-
lucent, tea-like consistency,
featuring a lot of water and
just a little paint. Medium-
value areas are to be painted
with a milky to almost-creamy
consistency. And the dark-
value areas should be painted
with a creamy to even buttery,
almost opaque, consistency.
• Save the white of the paper
for strong highlights in your
portrait paintings.

ABOVE
Musico Mexicano! (watercolor on paper,
11x15)

LEFT
Attitude (watercolor on paper, 15x11)

ArtistsNetwork.com 61
 Creativity Workshop

GO MINIMALIST OR MAXIMALIST
When embracing the California Vibe approach, you can
choose to paint monochromatically or explore full-out
color. Here are two examples of each.

Male Study No. 1 (watercolor on paper, 15x11) features greens and Male Study No. 2 (watercolor on paper, 15x11) relies on reds and
yellows to create a cool portrait. purples to produce a warm effect.

In Side Glance Study No. 1 (watercolor on paper, 11x15), the dominant In Side Glance Study No. 2 (watercolor on paper, 11x15), the electric
vibrant blues and greens downplay the model’s face. yellows and greens, and the highlights on the model’s features, place
the focus on the face.

62 Watercolor artist | DECEMBER 2018

 demo
California
Vibe

Step 1 Step 2
My reference photo features a male subject with super-dramatic lighting Using a No. 4 black squirrel hair quill brush, I applied
across his deeply chiseled face. The photo was originally in color, but I both warm and cool expressive colors, carefully
converted it to black and white, which enabled me to play with expressive, following the light, middle and dark value shapes on
or non-local, color more easily. I cropped the left side of the face on the the subject’s face. (See “Groove on the California Vibe”
pochade drawing and tilted it counterclockwise for a more dynamic on page 61 for paint consistency recommendations
composition and then began adding color. based on value.)

Artist’s Toolkit Step 3

PAINTS
I completed all of the dark value
areas of the face and then added
• Daniel Smith: azo wrinkles and textural flourishes with
yellow, opera rose, paint spatters and zigzag marks.
cobalt teal blue, I used a “spider legs” treatment—
phthalo blue green created by blowing hard through a
shade, electric blue straw into a puddle of paint—on the
luminescent, lunar bottom-left corner of the cheek and
the upper portion of the mouth. Next,
black, permanent I applied electric blue paint in a
yellow deep buttery consistency to the eye
cadmium (not sockets and under the nose.
shown) I added granulated paint to the
SURFACE
bottom cheek area for texture.
• Arches 140-lb.
cold-pressed
BRUSH
• No. 4 black squirrel
hair quill brush
Turn page for
final step

ArtistsNetwork.com 63
 demo
California
Vibe

Finish
Chisel-faced Man
(watercolor on paper,
11x7½) will serve as a motif,
or blueprint, for a larger
watercolor. WA

David Lobenberg
(lobenbergart.com) is a
workshop artist and the
creator of the California
Vibe Watercolor
Portraiture™ method.

Try this
at home
CREATE
A WORK
USING THE
CALIFORNIA
VIBE METHOD.
Send a JPEG (with a
resolution of 72 dpi) of
your finished painting to
[email protected]
with “Creativity Workshop”
in the subject line—or
follow @artistsnetwork
on Instagram and share
your painting there:
#everywatercolor_
CaliforniaVibe. The
“editor’s choice” will
receive a copy of Splash 19
(North Light Books, 2018).
The entry deadline
is December 15, 2018.

64 Watercolor artist | DECEMBER 2018

 $'9(57,6(0(17

Leading Acid Reflux

Pill Becomes an Anti-
Aging Phenomenon
Clinical studies show breakthrough acid reflux treatment also
helps maintain vital health and helps protect users from the
serious conditions that accompany aging such as fatigue and
poor cardiovascular health
E\ 'DYLG :D[PDQ GLVFRPIRUW DQG EHWWHU VOHHS 6RPH HYHQ $FFRUGLQJ WR 'U /HDO DQG VHYHUDO RI KHU
6HDWWOH :DVKLQJWRQ UHSRUWHG KHDOWKLHU ORRNLQJ VNLQ KDLU DQG FROOHDJXHV LPSURYLQJ WKH S+ EDODQFH RI \RXU
$ FOLQLFDO VWXG\ RQ D OHDGLQJ DFLG UHÀX[ QDLOV VWRPDFK DQG UHVWRULQJ JXW KHDOWK LV WKH NH\ WR
SLOO VKRZV WKDW LWV NH\ LQJUHGLHQW UHOLHYHV $ KHDOWK\ JXW LV WKH NH\ WR D UHGXFLQJ UHYLWDOL]LQJ \RXU HQWLUH ERG\
GLJHVWLYH V\PSWRPV ZKLOH VXSSUHVVLQJ WKH VZHOOLQJ DQG LQÀDPPDWLRQ WKDW FDQ ZUHDN :KHQ \RXU GLJHVWLYH V\VWHP LVQ¶W
LQÀDPPDWLRQ WKDW FRQWULEXWHV WR SUHPDWXUH KDYRF RQ WKH KXPDQ ERG\ 'RFWRUV VD\ WKLV KHDOWK\ LW FDXVHV XQZDQWHG VWUHVV RQ \RXU
DJLQJ LQ PHQ DQG ZRPHQ LV ZK\ $ORH&XUH ZRUNV RQ VR PDQ\ DVSHFWV LPPXQH V\VWHP ZKLFK UHVXOWV LQ LQÀDPPD
$QG LI FRQVXPHU VDOHV DUH DQ\ LQGLFD RI \RXU KHDOWK WLRQ LQ WKH UHVW RI WKH ERG\
WLRQ RI D SURGXFW¶V H൵HFWLYHQHVV WKLV µDFLG $ORH&XUH¶V DFWLYH LQJUHGLHQW LV PDGH 7KH UHFRPPHQGHG GDLO\ DOORZDQFH RI
UHÀX[ SLOO WXUQHG DQWLDJLQJ SKHQRPHQRQ¶ IURP WKH KHDOLQJ FRPSRXQG IRXQG LQ $ORH DFHPDQQDQ LQ $ORH&XUH KDV EHHQ SURYHQ WR
LV QRWKLQJ VKRUW RI D PLUDFOH YHUD ,W LV ERWK VDIH DQG KHDOWK\ 7KHUH DUH VXSSRUW GLJHVWLYH KHDOWK DQG FDOP SDLQIXO
6ROG XQGHU WKH EUDQG QDPH $ORH&XUH LW DOVR QR NQRZQ VLGH H൵HFWV LQÀDPPDWLRQ ZLWKRXW VLGH H൵HFWV RU GUXJV
ZDV DOUHDG\ EDFNHG E\ FOLQLFDO GDWD GRFX 6FLHQWLVWV EHOLHYH WKDW LW KHOSV LPSURYH 7KLV ZRXOG H[SODLQ ZK\ VR PDQ\ XV
PHQWLQJ LWV DELOLW\ WR SURYLGH DOO GD\ DQG GLJHVWLYH DQG LPPXQH KHDOWK E\ DFWLQJ DV HUV DUH H[SHULHQFLQJ LPSUHVVLYH UHVXOWV VR
QLJKW UHOLHI IURP KHDUWEXUQ DFLG UHÀX[ D QDWXUDO DFLGEX൵HU WKDW LPSURYHV WKH S+ TXLFNO\
FRQVWLSDWLRQ LUULWDEOH ERZHO JDV EORDWLQJ EDODQFH RI \RXU VWRPDFK
DQG PRUH 5HVHDUFK KDV VKRZQ WKDW WKLV DFLG LPEDO REVITALIZE YOUR ENTIRE BODY
%XW VRRQ GRFWRUV VWDUWHG UHSRUWLQJ VRPH DQFH FRQWULEXWHV WR SDLQIXO LQÀDPPDWLRQ :LWK GDLO\ XVH $ORH&XUH KHOSV XVHUV
LQFUHGLEOH UHVXOWV« WKURXJKRXW \RXU HQWLUH ERG\ DQG LV ZK\ $O ORRN DQG IHHO GHFDGHV \RXQJHU DQG GHIHQG
³:LWK $ORH&XUH P\ SDWLHQWV VWDUWHG UH RH&XUH VHHPV WR EH VR H൵HFWLYH DJDLQVW VRPH RI WKH SDLQIXO LQÀDPPDWLRQ
SRUWLQJ OHVV MRLQW SDLQ PRUH HQHUJ\ EHWWHU EXCITING RESULTS FROM WKDW DFFRPSDQLHV DJLQJ DQG FDQ PDNH OLIH
VOHHS VWURQJHU LPPXQH V\VWHPV« HYHQ OHVV KDUG
VWUHVV DQG EHWWHU VNLQ KDLU DQG QDLOV´ H[ PATIENTS %\ EX൵HULQJ VWRPDFK DFLG DQG UHVWRULQJ
SODLQV 'U /L]D /HDO D OHDGLQJ LQWHJUDWLYH 7R GDWH RYHU  PLOOLRQ ERWWOHV RI $ORH JXW KHDOWK $ORH&XUH FDOPV SDLQIXO LQÀDP
KHDOWK VSHFLDOLVW DQG FRPSDQ\ VSRNHVSHU &XUH KDYH EHHQ VROG DQG WKH FRPPXQLW\ PDWLRQ DQG ZLOO KHOS LPSURYH GLJHVWLRQ«
VRQ VHHNLQJ QRQSKDUPD WKHUDS\ IRU WKHLU *, VRRWKH DFKLQJ MRLQWV« UHGXFH WKH DSSHDU
$ORH&XUH FRQWDLQV DQ DFWLYH LQJUHGLHQW KHDOWK FRQWLQXHV WR JURZ DQFH RI ZULQNOHV DQG KHOS UHVWRUH KDLU DQG
WKDW KHOSV LPSURYH GLJHVWLRQ E\ DFWLQJ DV $FFRUGLQJ WR 'U /HDO KHU SDWLHQWV DUH QDLOV « PDQDJH FKROHVWHURO DQG R[LGDWLYH
D QDWXUDO DFLGEX൵HU WKDW LPSURYHV WKH S+ DEVROXWHO\ WKULOOHG ZLWK WKHLU UHVXOWV DQG DUH VWUHVV« DQG LPSURYH VOHHS DQG EUDLQ IXQF
EDODQFH RI \RXU VWRPDFK RIWHQ VKRFNHG E\ KRZ IDVW LW ZRUNV WLRQ« ZLWKRXW VLGH H൵HFWV RU H[SHQVH
6FLHQWLVWV QRZ EHOLHYH WKDW WKLV DFLG LP ³)RU WKH ¿UVW WLPH LQ \HDUV WKH\ DUH IUHH 5HDGHUV FDQ QRZ UHFODLP WKHLU HQHUJ\
EDODQFH LV ZKDW FRQWULEXWHV WR SDLQIXO LQ IURP FRQFHUQV DERXW WKHLU GLJHVWLRQ DQG YLWDOLW\ DQG \RXWK UHJDUGOHVV RI DJH RU FXU
ÀDPPDWLRQ WKURXJKRXW WKH UHVW RI WKH ERG\ DOPRVW HYHU\ RWKHU DVSHFW RI WKHLU KHDOWK´
7KH GDLO\ DOORZDQFH RI $ORH&XUH KDV VD\V 'U /HDO ³DQG , UHFRPPHQG LW WR HY UHQW OHYHO RI KHDOWK
VKRZQ WR FDOP WKLV LQÀDPPDWLRQ ZKLFK LV HU\RQH ZKR ZDQWV WR LPSURYH *, KHDOWK 2QH$ORH&XUH&DSVXOH'DLO\
ZK\ $ORH&XUH LV VR H൵HFWLYH ZLWKRXW UHVRUWLQJ WR GUXJV VXUJHU\ RU 27& ‡+HOSV(QG'LJHVWLRQ1LJKWPDUHV
5HOLHYLQJ RWKHU VWUHVVIXO V\PSWRPV UH PHGLFDWLRQV´ ‡+HOSV&DOP3DLQIXO,QÀDPPDWLRQ
ODWHG WR *, KHDOWK OLNH SDLQ EORDWLQJ ID ³, ZDV DOZD\V LQ µLQGLJHVWLRQ KHOO¶ 'RF ‡6RRWKHV6WL൵ $FKLQJ-RLQWV
WLJXH FUDPSLQJ FRQVWLSDWLRQ GLDUUKHD WRUV SXW PH RQ DOO VRUWV RI DQWDFLG UHPHGLHV ‡5HGXFHVDSSHDUDQFHRI:ULQNOHV
KHDUWEXUQ DQG QDXVHD 1RWKLQJ ZRUNHG 'U /HDO UHFRPPHQGHG ,  ,QFUHDVHV(ODVWLFLW\
1RZ EDFNHG ZLWK QHZ FOLQLFDO VWXGLHV WU\ $ORH&XUH $QG VRPHWKLQJ UHPDUNDEOH ‡0DQDJHV&KROHVWHURO 2[LGDWLYH6WUHVV
$ORH&XUH LV EHLQJ UHFRPPHQGHG E\ GRF KDSSHQHG« 1RW RQO\ ZHUH DOO WKH LVVXHV ‡6XSSRUWV+HDOWK\,PPXQH6\VWHP
WRUV HYHU\ZKHUH WR KHOS LPSURYH GLJHVWLRQ , KDG ZLWK P\ VWRPDFK JRQH  FRPSOHWHO\ ‡,PSURYHV6OHHS %UDLQ)XQFWLRQ
FDOP SDLQIXO LQÀDPPDWLRQ VRRWKH MRLQW JRQH ± EXW , IHOW OHVV MRLQW SDLQ DQG , ZDV
SDLQ DQG HYHQ UHGXFH WKH DSSHDUDQFH RI DEOH WR DFWXDOO\ VOHHS WKURXJK WKH QLJKW´ HOW TO GET ALOECURE
ZULQNOHV ± KHOSLQJ SDWLHQWV WR ORRN DQG IHHO :LWK VR PXFK SRVLWLYH IHHGEDFN LW¶V 7KLV LV WKH R൶FLDO QDWLRQZLGH UHOHDVH RI
GHFDGHV \RXQJHU HDV\ WR VHH ZK\ WKH FRPPXQLW\ RI EHOLHY WKH QHZ $ORH&XUH SLOO LQ WKH 8QLWHG 6WDWHV
FIX YOUR GUT & FIGHT HUV LV JURZLQJ DQG VDOHV IRU WKH QHZ SLOO DUH $QG VR WKH FRPSDQ\ LV R൵HULQJ RXU UHDGHUV
VRDULQJ XS WR  )5(( ERWWOHV ZLWK WKHLU RUGHU
INFLAMMATION
7KLV VSHFLDO JLYHDZD\ LV DYDLODEOH IRU
6LQFH KLWWLQJ WKH PDUNHW VDOHV IRU $ORH THE SCIENCE BEHIND ALOECURE WKH QH[W KRXUV RQO\ $OO \RX KDYH WR GR
&XUH KDYH WDNHQ R൵ DQG WKHUH DUH VRPH YHU\ $ORH&XUH LV D SLOO WKDW¶V WDNHQ MXVW RQFH LV FDOO 72//)5((  DQG
JRRG UHDVRQV ZK\ GDLO\ 7KH SLOO LV VPDOO (DV\ WR VZDOORZ SURYLGH WKH RSHUDWRU ZLWK WKH )UHH %RWWOH
7R VWDUW WKH FOLQLFDO VWXGLHV KDYH EHHQ 7KHUH DUH QR KDUPIXO VLGH H൵HFWV DQG LW $SSURYDO &RGH $& 7KH FRPSDQ\ ZLOO
LPSUHVVLYH 3DUWLFLSDQWV WDNLQJ WKH DFWLYH GRHV QRW UHTXLUH D SUHVFULSWLRQ GR WKH UHVW
LQJUHGLHQW LQ $ORH&XUH VDZ D VWXQQLQJ 7KH DFWLYH LQJUHGLHQW LV D UDUH $ORH 9HUD ,PSRUWDQW 'XH WR $ORH&XUH¶V UHFHQW PH
 LPSURYHPHQW LQ GLJHVWLYH V\PSWRPV FRPSRQHQW NQRZQ DV DFHPDQQDQ GLD H[SRVXUH SKRQH OLQHV DUH RIWHQ EXV\ ,I
ZKLFK LQFOXGHV IDVW DQG ODVWLQJ UHOLHI IURP 0DGH IURP RI  RUJDQLF $ORH 9HUD \RX FDOO DQG GR QRW LPPHGLDWHO\ JHW WKURXJK
UHÀX[ $ORH&XUH XVHV D SURSULHWDU\ SURFHVV WKDW UH SOHDVH EH SDWLHQW DQG FDOO EDFN 7KRVH ZKR
8VHUV DOVR H[SHULHQFHG KLJKHU HQHUJ\ VXOWV LQ WKH KLJKHVW TXDOLW\ PRVW ELRDYDLO PLVV WKH KRXU GHDGOLQH PD\ ORVH RXW RQ
OHYHOV DQG HQGXUDQFH UHOLHI IURP FKURQLF DEOH OHYHOV RI DFHPDQQDQ NQRZQ WR H[LVW WKLV IUHH ERWWOH R൵HU
THESE STATEMENTS HAVE NOT BEEN EVALUATED BY THE FOOD AND DRUG ADMINISTRATION. THIS PRODUCT IS NOT INTENDED TO DIAGNOSE, TREAT, CURE, OR PREVENT ANY
DISEASE. ALL DOCTORS MENTIONED ARE REMUNERATED FOR THEIR SERVICES. ALL CLINICAL STUDIES ON ALOECURE’S ACTIVE INGREDIENT WERE INDEPENDENTLY CONDUCTED AND
WERE NOT SPONSORED BY THE AMERICAN GLOBAL HEALTH GROUP.
 artist’s marketplace
Capturing Costa Rica in Color Sharon Serrago
With Robbie Laird Watercolor Acrylic
March 24 – 30, 2019
Oil & Cold Wax Mixed Media

MARJORIE GLICK
watercolor workshops 2019
focusing on dynamic color and light
coastal maine, and
Franco Marini: [email protected] tuscany, italy
www.RobbieLaird.com see website for info and dates: serragoartgallery.com
www.marjorieglick.com [email protected] 214-636-4271

Inspiring painting holidays in rural Tuscany presents

IUUQTwatermill.net its 40th
National
Exhibition
March 9 - April 26, 2019
“Our best holiday ever!” $10,000 in awards - Juror: Paul Jackson, AWS, NWS
We ofer stimulating, fun-illed Paul Jackson Workshop: March 19-22
courses with acclaimed tutors based
in a beautiful setting in unspoilt Italy.

“Harmony” by Paul Jackson

Email: [email protected] Prospectus available at:

Call Bill or Lois: +39    www.georgiawatercolorsociety.com

STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12, 1970: Section 3685,
Title 39, United States Code). 1. Watercolor Artist 2. (ISSN: 1941-5451) 3. Filing date: 10/1/18. 4. Issue frequency: Bi-
Jeanne Carbonetti monthly. 5. Number of issues published annually: 6. 6. The annual subscription price is $21.97. 7. Complete mailing
address of known office of publication: F+W Media, Inc., 10151 Carver Rd., Suite #300, Blue Ash, OH 45242. Contact
person: Kolin Rankin 8. Complete mailing address of headquarters or general business office of publisher: F+W Media,
Inc., 10151 Carver Rd., Suite #300, Blue Ash, OH 45242. 9. Full names and complete mailing addresses of publisher,
Expanded Website editor, and managing editor. Publisher, Allison Dolan, 10151 Carver Rd., Suite #300, Blue Ash, OH 45242, Editor, Anne
Hevener, 10151 Carver Rd., Suite #300, Blue Ash, OH 45242, Managing Editor, Beth Williams, 10151 Carver Rd., Suite

Featuring Sales Gallery #300, Blue Ash, OH 45242. 10. Owner: F+W Media, Inc.; Gregory J. Osberg, CEO, 1140 Broadway, 14th floor, New York,
NY 10001. 11. Known bondholders, mortgages, and other security holders owning or holding 1 percent of more of
total amount of bonds, mortgages or other securities: None. 12. Tax status: Has Not Changed During Preceding 12
for Watercolor Paintings Months. 13. Publisher title: Watercolor Artist. 14. Issue date for circulation data below: AUGUST 2018. 15. The extent and
nature of circulation: A. Total number of copies printed (Net press run). Average number of copies each issue during
preceding 12 months: 46,154. Actual number of copies of single issue published nearest to filing date: 44,195. B. Paid
Store for circulation. 1. Mailed outside-county paid subscriptions. Average number of copies each issue during the preceding
Weeklong classes in painting, 12 months: 29,711. Actual number of copies of single issue published nearest to filing date: 28,460. 2. Mailed in-county

drawing, mixed media and more. Books, DVDs & Prints paid subscriptions. Average number of copies each issue during the preceding 12 months: 0. Actual number of copies
of single issue published nearest to filing date:0. 3. Sales through dealers and carriers, street vendors and counter
sales. Average number of copies each issue during the preceding 12 months: 5,058. Actual number of copies of
JOHN C. CAMPBELL FOLK SCHOOL www.crowhillgallery.com single issue published nearest to filing date: 7,807. 4. Paid distribution through other classes mailed through the
USPS. Average number of copies each issue during the preceding 12 months: 1,269. Actual number of copies of single
folkschool.org 1-800-FOLK-SCH 802-875-3763 issue published nearest to filing date: 1,233. C. Total paid distribution. Average number of copies each issue during
BRASSTOWN NORTH CAROLINA preceding 12 months: 36,039. Actual number of copies of single issue published nearest to filing date; 37,500. D. Free
or nominal rate distribution (by mail and outside mail). 1. Free or nominal Outside-County. Average number of copies
each issue during the preceding 12 months: 171. Number of copies of single issue published nearest to filing date:
173. 2. Free or nominal rate in-county copies. Average number of copies each issue during the preceding 12 months:
0. Number of copies of single issue published nearest to filing date: 0. 3. Free or nominal rate copies mailed at other
Classes through the USPS. Average number of copies each issue during preceding 12 months: 0. Number of copies of
Call for Entries single issue published nearest to filing date: 0. 4. Free or nominal rate distribution outside the mail. Average number
of copies each issue during preceding 12 months: 545. Number of copies of single issue published nearest to filing
WATERCOLOR WORKSHOPS the Transparent Watercolor Society of America date: 574. E. Total free or nominal rate distribution. Average number of copies each issue during preceding 12 months:
715. Actual number of copies of single issue published nearest to filing date: 747. F. Total free distribution (sum of 15c
43rd Annual and 15e). Average number of copies each issue during preceding 12 months: 36,754. Actual number of copies of
single issue published nearest to filing date: 38,247. G. Copies not Distributed. Average number of copies each issue
EXHIBITION during preceding 12 months: 9,400. Actual number of copies of single issue published nearest to filing date: 5,948. H.
Total (sum of 15f and 15g). Average number of copies each issue during preceding 12 months: 46,154. Actual number
May to August 2019 of copies of single issue published nearest to filing: 44,195. I. Percent paid. Average percent of copies paid for the
preceding 12 months: 98.1% Actual percent of copies paid for the preceding 12 months: 98.0%. 16. Electronic Copy
Kenosha Public Museum, WI Circulation: A. Paid Electronic Copies. Average number of copies each issue during preceding 12 months: 1,142. Actual
number of copies of single issue published nearest to filing date: 910. B. Total Paid Print Copies (Line 15c) + Paid
Electronic Copies (Line 16a). Average number of copies each issue during preceding 12 months: 37,181. Actual number
OVER $20,000 in CASH AWARDS of copies of single issue published nearest to filing date: 38,410. C. Total Print Distribution (Line 15f) + Paid Electronic
Copies (Line 16a). Average number of copies each issue during preceding 12 months: 37,897. Actual number of copies
Dallas TX, Feb 4-7 New Bern NC, March 25-28 Entry Deadline January 31, 2019 of single issue published nearest to filing date: 39,157. D. Percent Paid (Both Print & Electronic Copies) (16b divided
Punta Gorda FL, &EB   New Orleans LA, April 15-18 by 16c x 100). Average number of copies each issue during preceding 12 months: 98.1%. Actual number of copies of
Cambria CA, March 4-7 Branson MO, May 6-9 online entries only at CaFE single issue published nearest to filing date: 98.1%. I certify that 50% of all distributed copies (electronic and print)
are paid above nominal price: Yes. Report circulation on PS Form 3526-X worksheet. 17. Publication of statement of

     
  www.CallForEntry.org or ownership will be printed in the December 2018 issue of the publication. 18. Signature and title of editor, publisher,
Learn at home Books and DVDs through TWSA at watercolors.org business manager, or owner: Allison Dolan, Publisher. I certify that all information furnished on this form is true and
www.tonycouch.com complete. I understand that anyone who furnishes false or misleading information on this form or who omits material
(678) 513-6676 ■
or information requested on the form may be subject to criminal sanction and civil actions.

66 Watercolor artist | DECEMBER 2018

 Northeast Art
Workshop Jan Sitts
Retreats Mixed Media
gets rave reviews! Workshops
Internationally
Acclaimed
A
TONY VAN HASSELT W
S
Artist Instructors
All levels & all media.
My 2019 Watercolor Workshops

BOOKS
Feb: Coastal Mexican Escapaint
Mar: Victorian Amelia Island, FL. www.NortheastArt
Texture, Color Feeling
AND
DVD’S
May: Discover Andalusian Spain Workshops.com Book available
Dates and details on this website
vanhasseltworkshops.com 978.729.4970 [email protected]  www.jansitts.com

CALL FOR ENTRIES Coachella Valley Watercolor Society

DEADLINE: MARCH 7, 2019 Palm Springs/Indio Area - 4/Day Workshops
Red River Watercolor Society’s 26th Annual National Juried Paul Jackson January 15-18, 2019
Watermedia Exhibition, June 17 through August 3, 2019, Jean Hanes February 12-15, 2019
Fargo, ND. Juror - Iain Stewart AWS, NWS. Awards $5,000
cash +. Prospectus at www.redriverws.org or at
Ward Stroud
David Lobenberg
March 12-15, 2019
November 12-14, 2019 Master Artist Workshops
Contact [email protected]
www.OnlineJuriedShows.com
Diane Moore (760) 485-6798
Huntsville, AL | 256.535.4350 | hsvmuseum.org

Coachella Valley Watercolor Society 1/23-1/25/19, Bradenton. Plein Air Workshop.

WORKSHOPS 1/15-1/18/19, Paul Jackson.
2/12-2/15/19, Jean Hanes.
2/16-2/18/19, Naples. Plein Air Workshop.
3/23-3/25/19, Sarasota. Plein Air Workshop.
ALABAMA 3/12-3/15/19, Ward Stroud. Contact: Marina, 941/330-6865
11/12-11/14/19, David Lobenberg. [email protected] or www.yeliseyevfineart.com
Huntsville Museum of Art
10/18-10/21/18, Huntsville. David Shevlino, Contact: Diane Moore, 760/485-6798, [email protected] GEORGIA
Alla Prima Clothed Figure & Portrait Painting. Tony Couch, AWS Georgia Watercolor Society
11/9-11/11/18, Huntsville. Lian Quan Zhen, Watercolor Painting: 3/4-3/7/19, Cambria. 3/19-3/22/19, Paul Jackson.
Let the Colors Paint Themselves. Contact: 678/513-6676, [email protected] Contact: www.georgiawatercolorsociety.com
11/15-11/17/18, Huntsville. Perry Austin, Tom Lynch HAWAII
Painting the Landscape in Oil. 11/13-11/16/19, San Diego. Eric Wiegardt, AWS-DF, NWS
4/5-4/6/19, Huntsville. Lynnette Hesser & Steve Loucks, Contact: 630/851-2652 1/20-1/27/19, Lahaina, Maui.
Ceramics: Serve with Finesse. [email protected] or www.TomLynch.com Maui Watercolor Plein Air Workshop.
5/16-5/19/19, Huntsville. Robert K. Carsten, PSA-MP, IAPS-MC, Contact: Wiegardt Studio Gallery, 360/665-5976
CPS, Power of the Pastel Landscape. COLORADO
[email protected]
9/23-9/27/19, Huntsville. Brian Bomeisler, Robbie Laird
Drawing on the Right Side of the Brain. 11/6-11/8/18, Colorado Watercolor Society. INDIANA
9/28-9/30/19, Huntsville. Brian Bomeisler, Intensive Painting/ Contact: Martha Heppard, [email protected] Vladislav Yeliseyev AIS, NWS
Color based on the publication by Dr. Betty Edwards, Color: Jan Sitts 10/27-10/29/18, Carmel. Studio Workshop.
A Course in Mastering the Art of Mixing Colors. June or July 2019, Gunnison Art Center. Dates TBA. Contact: [email protected]
Contact: Laura E. Smith, Director of Education/Museum LOUISIANA
Academy, 256/535-4350 x222 FLORIDA
[email protected] or hsvmuseum.org
Tony Couch, AWS
Robert Burridge 4/15-4/18/19, New Orleans.
ARIZONA 1/7-1/11/19, Pensacola. Loosen Up with Aquamedia Painting. Contact: 678/513-6676, [email protected]
Contact: Quayside Gallery, 850/438-2363
Jan Sitts Diane Goeller, 850/348-3652, [email protected] MAINE
AS OTHER ART ORGANIZATIONS CONTACT ME, I WILL Pat Page, 850/293-5414, [email protected] or Marjorie Glick
POST PROPOSED DATES FOR UPCOMING CLASSES. www.quaysidegallery.com 6/9-6/14/19, Stonington. Watercolor Plein Air: Color and Light.
11/5-11/7/18, Sedona. Sedona Arts Center. This magical coastal landscape is an artists’ paradise! Stretch
Tony Couch, AWS
5/6-5/8/19 and 11/4-11/6/19, Sedona. Sedona Arts Center. your perception of how you see, think about, and paint the
2/25-2/28/19, Punta Gorda.
Contact: Jennifer, 928/282-3809 landscape by learning new ways of interpreting it with color
Contact: 678/513-6676, [email protected]
Eric Wiegardt, AWS-DF, NWS and composition. Express your ideas using watercolor’s
Tom Lynch elusive qualities of spontaneity and transparency. Expand
3/4-3/8/19, Scottsdale. Wiegardt’s Painterly Watercolors.
1/7-1/10/19, Boynton Beach. what you know through individual mentoring. Daily
Contact: Scottsdale Artists’ School, Trudy Hays, 480/990-1422
1/25-1/27/19, Indian Rocks Beach. demonstrations, ample time for painting, individual guidance
[email protected]
3/5-3/8/19, Punta Gorda. and critiques are included. Stonington, Maine is 90 minutes by
CALIFORNIA Contact: 630/851-2652 car from Bangor, Maine airport.
Art In The Mountains [email protected] or www.TomLynch.com Contact: www.marjorieglick.com
4/24-4/26/19 and 4/28-4/30/19, Santa Barbara (moved from Jan Sitts Tony van Hasselt, A.W.S.
San Antonio). Alvaro Castagnet, The Pillars of Watercolor. 2/18-2/21/19, Punta Gorda. Visual Arts Center. 7/29-8/2/19, Belfast. Five days of plein air fun, exploring this
Watercolor - plein air - intermediate to advanced outdoor Contact: Kimberly, 941/639-8810 teaming coastal harbor and enjoying the charm of Victorian
Bayside. Subjects galore. Demonstrations, lots of individual
painters. Tony van Hasselt, A.W.S. painting time and assistance. Work in watercolor or acrylics.
9/9-9/13/19, Santa Barbara. David Taylor, Moving 3/18-3/22/19, Victorian Fernandina. Painting fun on sunny Contact: www.vanhasseltworkshops.com
Forward and Capturing the Moment. Watercolor - plein air, Amelia Island. Stately homes with moss-draped oaks plus 9/9-9/13/19, Boothbay Harbor. Let Tony show you favorite
intermediate to advanced. a harbor, boats and rickety docks. Demonstrations, lots of spots in his own “backyard”. Coastal scenes, rickety docks, a
Contact: Tracy Culbertson, 503/930-4572 individual painting time and assistance. Work in watercolor farmers market, lighthouse and more. Demonstrations, lots
[email protected] or or acrylics. of individual painting time and assistance. Work in watercolor
www.artinthemountains.com Contact: www.vanhasseltworkshops.com or acrylics.
Robert Burridge Vladislav Yeliseyev AIS, NWS Contact: www.vanhasseltworkshops.com
10/24-10/28/18, Arroyo Grande. Robert Burridge 5-Day 10/22-10/24/18, The Villages. Studio Workshop. MASSACHUSETTS
Instructional Studio Workshop. 5-day Workshop in Bob’s Contact: 352/572-5317, [email protected] Northeast Art Workshops
Studio (Wednesday-Sunday). 12/8-12/10/18, Sarasota. Florida Landscape, 10/23-10/25/18, Non-toxic Encaustic.
11/1-11/4/18, Arroyo Grande. Robert Burridge Studio Mentor Plein Air Workshop. 5/21-5/24/19, Don Andrews, Watercolor.
Workshop. Come paint with Bob in his Studio (includes Contact: Marina, 941/330-6865 6/12-6/14/19, Jeannie McGuie, Watercolor.
individual mentor time, demonstrations and personal theme [email protected] or www.yeliseyevfineart.com 6/18-6/21/19, Lori Putnam, Oil.
development). 3.5 days Workshop/Mentor Program, limited 12/14/18, 1/7/19, 3/27/19, Bradenton. Keeton’s Art Supply. 6/25-6/28/19, Keiko Tanabe, Watercolor.
to 7 enrollees. One day Watercolor workshops. 7/15-7/19/19, Fabio Cembranelli, Watercolor.
Contact: [email protected] Contact: 941/747-2995 7/29-7/31/19, Barbara Nechis, Watercolor.

ArtistsNetwork.com 67
 artist’s marketplace
9/10-9/13/19, Tom Schaller, Watercolor. 6/23-6/29/19, Paul Leveille. instructors. Painting is always a learning experience. Our
9/23-9/27/19, Katherine Chang-Liu, Mixed Media. 6/30-7/6/19, Michael Solovyev. goal is to help painters sharpen their critical awareness and
9/30-10/3/19, Lorraine Glessner, Acrylic. 7/7-7/13/19, Debora Stewart. discover painting gratification. Class sizes range from 12 to
10/8-10/11/19, Mark Mehaffey, Watermedia. 7/14-7/20/19, Kim English. a maximum of 24 students, and each student selects one
10/13-10/15/19, Patti Mollica, Acrylic and Oils. 7/21-7/27/19, Sally Strand. instructor for the entire week. We also have Independent
Contact: 978/729-4970 7/28-8/3/19, Michael Story. Studios for those who wish to paint on their own. Meals and
www.NortheastArtWorkshops.com 8/4-8/10/19, David Daniels. lodging are included. (Commuter option available.)
9/1-9/7/19, Retreat Week.
MICHIGAN Contact: 615/202-0281, [email protected] or
9/8-9/14/19, Margaret Dyer.
Tom Lynch www.kanugawatermediaworkshops.com
9/15-9/21/19, David Taylor.
7/17-7/20/19, Lowell. Contact: 888/665-0044 Tom Lynch
Contact: 630/851-2652 [email protected] or www.artworkshops.com 11/8-11/10/18, Raleigh.
[email protected] or www.TomLynch.com Riverside Art Workshops Contact: 630/851-2652
Chris Unwin Breathtaking Views of The Hudson River. [email protected] or www.TomLynch.com
Watercolor Workshop Weekly on Wednesdays. 5/7-5/9/19, Newburgh. Kathie George.
OHIO
West Bloomfield, MI 48322 5/14-5/17/19, Newburgh. Nicki Heenan.
Contact: Chris Unwin, 248/624-4902 6/4-6/7/19, Newburgh. Peggi Habets. Tom Lynch
[email protected] or www.ChrisUnwin.net 6/10-6/13/19, Newburgh. Peggi Habets. 10/17-10/20/18, Beavercreek.
6/18-6/21/19, Newburgh. Jean Pederson. Contact: 630/851-2652
MISSOURI 6/26-6/28/19, Newburgh. Janet Rogers. [email protected] or www.TomLynch.com
Tony Couch, AWS 7/9-7/12/19, Newburgh. Fabio Cembranelli.
5/6-5/9/19, Branson. 7/23-7/26/19, Newburgh. Giuliano Boscaini. OREGON
Contact: 678/513-6676, [email protected] 8/3-8/4/19, Newburgh. Ritvik Sharma. Art In The Mountains
8/12-8/15/19, Newburgh. Herman Pekel. 7/29-8/2/19 and 8/5-8/9/19, Bend. Herman Pekel, Be Brave
NEVADA 9/10-9/12/19, Newburgh. Rick Surowicz. and Have Fun. Studio and plein air- watercolor. All levels
Tom Lynch 9/25-9/27/19, Newburgh. Michael Reardon. welcome.
8/13-8/19/19, Reno. 10/22-10/25/19, Newburgh. Andy Evansen. 8/12-8/16/19, Bend. Iain Stewart, Sketchbook to Studio.
Contact: 630/851-2652 Average class size 8-12 students. Watercolor - studio. All levels welcome.
[email protected] or www.TomLynch.com Contact: 845/787-4167, [email protected]
8/19-8/23/19, Bend. Chinmaya Panda, Portrait and Figure in
NEW JERSEY NORTH CAROLINA Watercolor. Watercolor - studio. All levels welcome.
Tom Lynch Robert Burridge 8/26-8/30/19, Bend. Michael Reardon, Watercolor
11/2-11/4/18, Red Bank. 11/9-11/12/18, Raleigh. Art of the Carolinas - Workshops & Art Techniques. Watercolor - studio. All levels welcome - some
Contact: 630/851-2652 Materials Exhibition. Sponsored by Jerry’s Artarama. experience helpful.
[email protected] or www.TomLynch.com Contact: Sharon DiGiulio, 800/827-8478 ext 156 Contact: Tracy Culbertson, 503/930-4572
[email protected] or www.artofthecarolinas.com [email protected] or
NEW YORK www.artinthemountains.com
John C. Campbell Folk School
Hudson River Valley Art Workshops
10/28-11/3/18, Annie Cicale & Redenta Soprano, Botanicla SOUTH CAROLINA
3/17-3/23/19, Kellee Wynne Conrad.
Books: Traditions Old and New. $630.
3/27-3/31/19, Patti Mollica. Art In The Mountains
Contact: John C. Campbell Folk School
3/31-4/6/19, Alain Picard. Brasstown, NC 800-FOLK-SCH or www.folkschool.org 7/9-7/11/19, Greenville. Mary Whyte, Painting the Portrait and
4/10-4/14/19, Alvaro Castagnet. the Figure. Watercolor - studio. All levels welcome.
4/14-4/18/19, Howard Rose. Tony Couch, AWS
3/25-3/28/19, New Bern. Contact: Tracy Culbertson, 503/930-4572
5/5-5/11/19, Koo Schadler.
Contact: 678/513-6676, [email protected] [email protected] or
5/15-5/19/19, Barbara Nechis.
Kanuga Watermedia Workshops www.artinthemountains.com
5/19-5/25/19, Robert Burridge.
5/29-6/2/19, Emilie Lee. 3/30-4/5/19, Hendersonville. Held at the Kanuga Conference Vladislav Yeliseyev AIS, NWS
6/2-6/8/19, Jane Davies. Center in the Blue Ridge Mountains of North Carolina, we 2/4-2/6/19, Rock Hill. Studio Workshop.
6/9-6/15/19, Leah Lopez. offer 5 full days of instruction featuring 12 award-winning Contact: [email protected]

Workshop DVDs
Complete 4 Day
Watercolor Workshops

[email protected] 630-851-2652
www.tomlynch.com
2018-19 WORKSHOPS
October 17 – 20 Beavercreek, OH
November 2 – 4 Red Bank, NJ
November 8 – 10 Raleigh, NC
January 7 – 10 Boynton Beach, FL
January 25 – 27 Indian Rocks Beach, FL
February 9 – 16 Puerto Vallarta, Mexico
March 5 – 8 Punta Gorda, FL
July 17 – 20 Lowell, MI
August 13 – 19 Reno, NV
September 9 – 13 Stephenville, TX
September 27 – 29 Spokane, WA
November 13 – 16 San Diego, CA

Available For Workshops In Your Area

Dancers Daughter, Bev Jozwiak

See Bev Jozwiak’s Video Clips
and Video Clips of these artists
Chris Unwin, NWS
Nita Engle, AWS
Visit www.ArtAcademyLive.com Alexis Lavine, NWS
Your Online Source For
Art Instruction 24/7 WWW. ChrisUnwin.NET
68 Watercolor artist | DECEMBER 2018
 artist’s marketplace
TEXAS
Tony Couch, AWS
2/4-2/7/19, Dallas.
Contact: 678/513-6676, [email protected]
Tom Lynch 6LQFH 
9/9-9/13/19, Stephenville. ³3UHPLHU 'HVWLQDWLRQ :RUNVKRSV´
Contact: 630/851-2652
[email protected] or www.TomLynch.com
 :RUNVKRSV
Sharon Serrago .DUO\Q +ROPDQ &UXLVH:RUNVKRS
Sharon is a local area artist, teaching weekly watercolor and -DQXDU\   
acrylic classes at her studio in Richardson, TX. As her teaching
strength lies in color theory and design, her classes always
*ROG &RDVW $XVWUDOLD 1HZ &DOHGRQLD
focus on strong fundamentals - even in abstract! 6\GQH\ $XVWUDOLD  URXQG WULS
Contact: 214/636-4271, [email protected] or $OYDUR &DVWDJQHW
www.serragoartgallery.com
$SULO    $SULO   
Jan Sitts
10/9-10/12/18, Lake Granbury. Lake Granbury Art Association.
6DQWD %DUEDUD &$
Contact: Diana, 817/326-5629 or 817/578-1842 +HUPDQ 3HNHO
2019, Flower Mound. Dates TBA.
Contact: [email protected]
-XQH   
3DULV9HUVDLOOHV
BBBBBBBBBBBBB)UDQFH
WASHINGTON
Tom Lynch -XO\   $XJXVW  $XJXVW    ROBERT BURRIDGE
9/27-9/29/19, Spokane. %HQG 25
0DU\ :K\WH ,DLQ 6WHZDUW
Contact: 630/851-2652
[email protected] or www.TomLynch.com
-XO\    $XJXVW   
• Burridge Studio App
Birgit O’Connor
10/16-10/19/18 and 10/20-10/21/18, Spokane. *UHHQYLOOH 6& %HQG 25 • Free Online Newsletter
&KLQPD\D 3DQGD 'DYLG 7D\ORU
SSW Spokane Watercolor Society.
Contact: Carol Grabowski, [email protected]
Eric Wiegardt, AWS-DF, NWS $XJXVW    6HSWHPEHU    • Free Weekly BobBlast
4/9-4/12/19, Spokane. Wiegardt’s Painterly Watercolors. %HQG 25 6DQWD %DUEDUD &$
Contact: Spokane Art Supply, Victor Davis, 509/327-6628
0LFKDHO 5HDUGRQ
• Current Workshop Schedule
[email protected]
4/25-4/28/19, Bainbridge Island. $XJXVW    GD\ ZRUNVKRS • Workshops in Bob's Studio
Wiegardt’s Painterly Watercolors. %HQG 25
.DUO\Q +ROPDQ &UXLVH:RUNVKRS
Contact: Winslow Art Center, Martha Jordan, 206/715-6663
[email protected]
5/7-5/10/19, Long Beach Peninsula. 2FWREHU   1RYHPEHU 
Wiegardt’s Painterly Watercolors. 7UDQV$WODQWLF ZLWK  &RXQWULHV
Contact: Wiegardt Studio Gallery,
&RSHQKDJHQ 'HQPDUN WR 1HZ 2UOHDQV /$

[email protected]
WEST VIRGINIA
Jaimie Cordero LQIR#DUWLQWKHPRXQWDLQVFRP RobertBurridge.com
11/2-11/4/18, Hedgesville. 3-Day “Fall Colors Landscape ZZZDUWLQWKHPRXQWDLQVFRP
Workshop”. Photography, Plein Air Sketching, Landscape
Composition, Color Combining to create more dynamic
paintings.
Contact: [email protected]
WISCONSIN RIVERSIDE ART WORKSHOPS
Jan Sitts
9/9-9/12/19, Lac du Flambeau. Dillmans Creative Art Retreat.
2019
Contact: Sue

INTERNATIONAL
AUSTRALIA
Art In The Mountains
1/5-1/18/19, Karlyn Holman, Watercolor Fun and Free New
Caledonia and Gold Coast Australia Cruise/workshop.
Contact: Tracy Culbertson, 503/930-4572
[email protected] or
www.artinthemountains.com Breathtaking Views of The Hudson River
CANADA
Robert Burridge Small & Friendly Classes
10/15-10/19/18, Vancouver Island, British Columbia.
Loosen Up with Aquamedia Painting. 5-day Painting Kathie George ..................... 5/7-5/9
Workshop (Monday-Friday). Vancouver Island Art Workshops.
Contact: Mary, 250/714-8080 Nicki Heenan ................... 5/14-5/17
[email protected] or
www.vancouverislandartworkshops.com Peggi Habets... 6/4-6/7 & 6/10-6/13
COSTA RICA Jean Pederson ................ 6/18-6/21
Robbie Laird
3/24-3/30/19, Capturing Costa Rica In Color.
Janet Rogers................... 6/26-6/28
Contact: Franco Marini, [email protected] Fabio Cembranelli ............. 7/9-7/12
CROATIA Giuliano Boscaini ............ 7/23-7/26
Vladislav Yeliseyev AIS, NWS
6/6-6/13/19, Painting Vacation in Croatia. Artists dream Ritvik Sharma ..................... 8/3-8/4
vacation! Majestic scenes of courtyards, quaint villages,
old stone buildings, olives on the trees, and small fishing
Herman Pekel.................. 8/12-8/15
boats - just a few subjects to name. Discount for early bird
registration is till 11/30/2018.
Rick Surowicz ................. 9/10-9/12
Contact: Marina, 941/330-6865 Michael Reardon ............. 9/25-9/27
[email protected] or www.yeliseyevfineart.com
Andy Evansen ............. 10/22-10/25
EUROPE
Art In The Mountains Average class size 8-12 students.
10/20-11/8/19, Karlyn Holman, 9 Countries from Denmark to
New Orleans. Painting days are ‘at sea’ days only.
Contact: Tracy Culbertson, 503/930-4572
Newburgh, NY 845-787-4167
[email protected] or [email protected]
www.artinthemountains.com

ArtistsNetwork.com 69
 artist’s marketplace
FRANCE 9/28-10/5/19, Watercolours, acrylics and oils with 3/30-4/6/19, Mario Andres Robinson, Painting in Paradise –
Art In The Mountains Charles Sluga (from Australia). the Portrait and Figure in Watercolor.
10/5-10/12/19, Watercolours with Tim Wilmot (from the UK). Tom Lynch
6/10-6/14/19, Paris. Herman Pekel, watercolor- plein air -
10/12-10/19/19, Watercolours with David Taylor 2/9-2/16/19, Puerto Vallarta.
intermediate to advanced.
(from Australia).
Contact: Tracy Culbertson, 503/930-4572 Contact: 630/851-2652
Contact: Bill or Lois on [email protected] or phone
[email protected] or [email protected] or www.TomLynch.com
+39 327 379 9178. More details at https://watermill.net
www.artinthemountains.com Tony van Hasselt, A.W.S.
MEXICO 2/23-3/2/19, Boca de Tomatlan. Escape the cold to join this
ITALY
Robert Burridge Tropical Escapaint in watercolor and sketchbook journaling.
Marjorie Glick/Il Chiostro 1/19-1/26/19, Abstract Acrylic Painting & Collage in Mexico. Be inspired in this safe and peaceful little fishing village south
TBD Tuscany. This will be a relaxing and inspiring painting Casa de Los Artistas. Boca de Tomatlan, 10 miles South of of Puerto Vallarta. Excursions to nearby sites and the Bay of
workshop and artists’ re-treat in the Chianti Region of Puerto Vallarta. Banderas. All inclusive, tuition, meals and accommodations.
Tuscany, Italy. We will stay in an authentic 12th century Contact: Robert Masla, 413/625-8383 Contact: www.vanhasseltworkshops.com
monastery, San Fedele, which has been recently restored to www.ArtWorkshopVacations.com
modern first class lodging accommodations while retaining Casa de los Artistas, Inc. – RUSSIA
an old-world authenticity. We will paint daily, either on site or Masla Fine Art – ArtWorkshopVacations.com Vladislav Yeliseyev AIS, NWS
on short field trips to view charming villages, olive groves and Robert Masla Studios South 6/20-6/30/19, Painting and Cultural Vacation in Moscow and
the beautiful, romantic Tuscan country- side. The workshop Contact: 413/625-8382, www.MaslaFineArt.com or Golden Ring Cities: Vladimir, Suzdal, Plyos and more. Discount
is offered through Il Chiostro. Artists of all levels and mediums www.ArtWorkshopVacations.com for early bird registration is till 11/30/2018.
are welcome and will leave enriched by this experience. A Unique Tropical Paintcation with the Best Instruction in the Contact: Marina, 941/330-6865
Contact: [email protected] or [email protected] Best Location. All inclusive artists retreats - tropical oceanside [email protected] or www.yeliseyevfineart.com
The Watermill at Posara, Lunigiana, Tuscany paradise: Robert Burridge, Andy Evansen, Tony van Hasselt,
The 2019 painting tutors at the Watermill are: Shelby Keefe, Tom Lynch, John MacDonald, Robert Masla, Jim SPAIN
4/27-5/4/19, Watercolours with Paul Talbot-Greaves McVicker, Mario Andres Robinson, Dave Santillanes, Randall Tony van Hasselt, A.W.S.
(from UK). Sexton. Serene fishing village 10 miles south of Puerto Vallarta. 4/30-5/10/19, Seville and Andalusia. Come sketch or paint
5/18-5/25/19, Watercolours with Keiko Tanabe (from Japan). Call for early registration discounts. Visit our website for more in a place that takes your breath away. Zahara de la Sierra is
6/1-6/8/19, Watercolours with Sandra Strohschein 1 details, schedule, slide show, free instructional videos and… one of the most picturesque white pueblos in the area. Start a
(from USA). 1/5-1/12/19 & 1/26-2/2/19, Robert Masla, Paint in paradise with sketchbook journal and work based on the drawings or paint
6/8-6/15/19, Watercolours with Sandra Strohschein 2 Casa Director/Co-founder, Aqua media, Art & Yoga, Draw Like right on location. Demonstrations, lots of painting time and
(from USA). Crazy, Paint Like Crazy – Draw Like a Painter! Painting in Plein assistance.
6/15-6/22/19, watercolours with Frank Walters (from UK). Air and the Studio. Contact: www.vanhasseltworkshops.com
6/22-6/29/19, Oils and watercolours with Vicki Norman 1/12-1/19/19, Shelby Keefe, Bold Brush Painting – Plein Air and
Studio. Vladislav Yeliseyev AIS, NWS
(from UK). 5/27-6/3/19, Painting vacation in Spain. Don’t Be a Tourist. Be
1/19-1/26/19, Robert Burridge, Abstract Acrylic and Collage
6/29-7/6/19, Watercolours and drawing (also gouache our Guest! Join me for 8 unforgettable days in Costa Brava.
Workshop.
and acrylics) with Mike Willdridge (from UK). 2/2-2/9/19, Andy Evansen, Loosening Up Your Watercolor Discount for early bird registration is till 11/30/2018.
7/13-7/20/19, Watercolours, pastels, collage and mixed Painting, Plein Air and Studio. Contact: French Escapade, 510/483-5713
media plus acrylics with Sue Ford (from UK). 2/9-2/16/19, Tom Lynch, Watercolor Secrets Revealed, Plein [email protected] or www.frenchescapade.com
8/17-8/24/19, Watercolours, acrylics and oils with Air and Studio.
Jude Scott 1 (from Australia).
8/24-8/31/19, Watercolours, acrylics and oils with
2/16-2/23/19, John MacDonald, Drawing and Painting in Plein
Air and the Studio.
ONLINE
Jude Scott 2 (from Australia). 2/23-3/2/19, Tony van Hasselt, Tropical Escapaint & Creating Birgit O’Connor
8/31-9/7/19, Water-based oils, acrylics and watercolours an Artists Watercolor Travel Sketchbook. Now offering “Live from the Studio” multiple day online
with Varvara Neiman (from UK). 3/2-3/9/19, Randal Sexton, Expressive Brushwork En Plein Air, workshops or go at your own pace in an interactive 6-week
9/14-9/21/19, Watercolours (and oils and acrylics) with Plein Air and the Studio. course, join in live meetings, ask questions, problem solve in
Claire Warner (from UK). 3/9-3/16/19, Jim McVicker, Painting in Plein Air and the Studio. real time and get to know students from around the world
9/21-9/28/19, Oils, acrylics, pastels and drawing mediums 3/16-3/23/19, Dave Santillanes, Capturing the Atmosphere (non-interactive option available).
with Maggie Renner Hellmann (from USA). - Painting in Plein Air and the Studio. Contact: www.birgitoconnor.com

HUDSON RIVER VALLEY

ART WORKSHOPS
Learning, Laughter,
Art sts
and Friendships in an
Inspiring, & Inviting
Environment
network
Call Toll-Free 1-888-665-0044
Kellee Wynne Conrad Mar 17-23, 2019
Patti Mollica Mar 27-31, 2019
Alain Picard Mar 31-Apr 6, 2019
Alvaro Castagnet Apr 10-14, 2019
Howard Rose Apr 14-18, 2019
Koo Schadler May 5-11, 2019
Barbara Nechis May 15-19, 2019
Robert Burridge May 19-25, 2019
Emilie Lee May 29-Jun 2, 2019
Jane Davies Jun 2-8, 2019
Leah Lopez Jun 9-15, 2019
Paul Leveille
Michael Solovyev
Jun 23-29, 2019
Jun 30-Jul 6, 2019
For the Artist, Maker
Debora Stewart
Kim English
Jul 7-13, 2019
Jul 14-20, 2019
& (Forever) Inspired
Sally Strand Jul 21-27, 2019
Michael Story Jul 28-Aug 3, 2019 Artists Network is with you every
David Daniels Aug 4-10, 2019 step of your art journey.
Retreat Week Sep 1-7, 2019
Margaret Dyer Sep 8-14, 2019 Come have fun with us!
David Taylor Sep 15-21, 2019 Come make art with us!
www.artistsnetwork.com
artworkshops.com

70 Watercolor artist | DECEMBER 2018

 $GYHUWLVHPHQW

$UHUDGLDWLQJSDLQVGRZQWKHEDFNRI 'R\RXVX൵HU IURP EXUQLQJ WLQJOLQJ ,I \RX H[SHULHQFH PLQRU OHDNV RU D

\RXUOHJRUSDLQLQ\RXUORZHUEDFNRU RU VWDEELQJ SDLQ LQ \RXU IHHW" <RX VXGGHQ XUJH WR XULQDWH KHOS LV QRZ
EXWWRFNVPDNLQJLWXQFRPIRUWDEOHWRVLW VKRXOG NQRZ KHOS LV DYDLODEOH 0DQ\ DYDLODEOH  PLOOLRQ $PHULFDQV VX൵HU
RUZDON"0LOOLRQVRISHRSOHDUHVX൵HU DUHVX൵HULQJ IURP WKHVH V\PSWRPV DQG IURP LQFRQWLQHQFH SUREOHPV ZKLFK
LQJXQQHFHVVDULO\EHFDXVHWKH\DUHQRW OLYHLQSDLQ EHFDXVH WKH\ DUH QRW DZDUH PD\ OHDG WR D OLPLWLQJ RI VRFLDO LQWHUDF
DZDUHRIWKLVSURYHQWUHDWPHQW RIWKLVSURYHQ WUHDWPHQW WLRQV WR DYRLG HPEDUUDVVPHQW
0DJQL/LIHŠ /HJ  %DFN 3DLQ 5HOLHI 0DJQL/LIHŠ 3DLQ 5HOLHYLQJ )RRW 0DJQL/LIHŠ %ODGGHU 5HOLHI FRQWDLQV
FRPELQHV IRXU DFWLYH LQJUHGLHQWV VXFK &UHDPFRQWDLQV HXFDO\SWXV RLO DQG \HO VHYHQ DFWLYH LQJUHGLHQWV VXFK DV &DXV
DV &RORF\QWKLV WR UHOLHYH EXUQLQJ SDLQV ORZMDVPLQH NQRZQ WR UHOLHYH WLQJOLQJ WLFXP IRU DGXOW LQFRQWLQHQFH DQG 6HSLD
DQG WLQJOLQJ VHQVDWLRQV $OWKRXJK WKLV EXUQLQJ DQG VWDEELQJ SDLQ ZKLOH DOVR IRU WKH XUJH WR XULQDWH GXH WR RYHUDFWLYH
SURGXFWLVQRWLQWHQGHGWRWUHDWVFLDWLFDLW UHVWRULQJ FUDFNHG GDPDJHG DQG LWFK\ EODGGHU 7DEOHWV FDQ EH WDNHQ DORQJ ZLWK
PD\KHOSZLWKWKHSDLQ“I am absolutely VNLQ“It’s the ONLY product that helps RWKHU PHGLFDWLRQV ZLWK QR NQRZQ VLGH
amazed at how it works and how fast it relieve the burning, and tingling feeling H൵HFWV ³/RYH WKHVH SLOOV ,W LV WKH ¿UVW
works.” - 70DUWLQ 7DEOHWVGLVVROYHXQ in my feet!” - Mable NY. thing in a long, long time that is helping
GHU WKH WRQJXH“Those little tablets are 0DJQL/LIHŠ 3DLQ 5HOLHYLQJ )RRW me. Thank you!” Margeret S., FL.
like relief in a snap.”3DWV\&2 &UHDPLVVROG DW :DOJUHHQV &96 5LWH 0DJQL/LIHŠ %ODGGHU 5HOLHI LV DYDLO
0DJQL/LIHŠ/HJ %DFN3DLQ5HOLHILV $LG .URJHU 7DUJHW DQG :DOPDUW LQ DEOH DW 5LWH $LG ORFDWHG LQ WKH YLWD
VROGDW:DOJUHHQV&965LWH$LGDQG WKHIRRWFDUH DQG GLDEHWHV VHFWLRQV 2UGHU PLQ VHFWLRQ 2UGHU ULVN IUHH IRU 
:DOPDUW 2UGHU ULVN IUHH IRU  ULVNIUHHIRU   6 + IRU D   6 + IRU  WDEOHWV SHU ERWWOH
 6 + IRU  WDEOHWV SHU ERWWOH R]MDU*HW D )5(( MDU ZKHQ \RX RUGHU *HW D )5(( ERWWOH ZKHQ \RX RUGHU WZR
*HWD)5((ERWWOHZKHQ\RXRUGHUWZR WZRIRU  6 + 6LPSO\ VHQG IRU   6 + 6HQG SD\PHQW
IRU6 +6HQGSD\PHQW SD\PHQW WR 0DJQL/LIH 1&:$ 32 WR 0DJQL/LIH 8:$ 32 %R[ 
WR 0DJQL/LIH 6:$ 32 %R[  %R[0F.LQQH\ 7;  RU FDOO 0F.LQQH\ 7;  RU FDOO 
0F.LQQH\7;RUFDOO  6DWLVIDFWLRQ JXDUDQWHHG  6DWLVIDFWLRQ JXDUDQWHHG 2UGHU
 6DWLVIDFWLRQ JXDUDQWHHG 2UGHU 2UGHU QRZ DW ZZZ0')RRW&UHDPFRP QRZ DW ZZZ%ODGGHU7DEOHWVFRP
QRZ DW ZZZ/HJ%DFN3DLQFRP

$UH XQVLJKWO\ EURZQ VSRWV RQ \RXU

IDFHDQGERG\ PDNLQJ \RX XQFRPIRUW
DEOH" /LYHU VSRWV DOVR NQRZQ DV DJH $UH\RXRQHRIPLOOLRQSHRSOHVXI
$UH \RX VX൵HULQJ IURP EXUQLQJ RU VSRWVD൵HFW WKH FRVPHWLF VXUIDFH RI WKH IHULQJIURPGHHSPXVFOHSDLQDQGWHQGHU
WLQJOLQJ SDLQ RU LWFKLQJ HYHQ DIWHU WKH VNLQDQGFDQ DGG \HDUV WR \RXU DSSHDU QHVV MRLQW VWL൵QHVV GL൶FXOW\ VOHHSLQJ
VKLQJOHVUDVKLVJRQH"0DQ\SHRSOHDUH DQFH0LOOLRQV RI SHRSOH OLYH ZLWK GDUN RUWKHIHHOLQJRIOLWWOHRUQRHQHUJ\"<RX
SXWWLQJXSZLWKWKHGLVFRPIRUWDQGLWFK VSRWVDQGWU\ WR FRYHU WKHP ZLWK PDNH VKRXOGNQRZUHOLHILVDYDLODEOH
LQJ EHFDXVH WKH\ DUH QRW DZDUH RI WKLV XSRUEOHDFK WKHP ZLWK KDUVK FKHPLFDOV 0DJQL/LIHŠ 3DLQ  )DWLJXH 5HOLHI
QHZDGYDQFHPHQWLQVNLQFDUH EHFDXVHWKH\ DUH QRW DZDUH RI WKLV WRSL FRPELQHVDFWLYHLQJUHGLHQWVWRUHOLHYH
0DJQL/LIHŠ 3DLQ  ,WFK 5HOLHI *HO FDOWUHDWPHQW WKDW JHQWO\ DQG H൵HFWLYHO\ GHHSPXVFOHSDLQDQGVRUHQHVVDUWKULWLV
FRQWDLQVSRZHUIXOLQJUHGLHQWVVXFKDV OLJKWHQVWKH VKDGH RI WKH VNLQ SDLQ DFKLQJ MRLQWV DQG EDFN DQG QHFN
DUQLFDDQGWHDWUHHRLOWRGHOLYHUIDVWUHOLHI 0DJQL/LIHŠ $JH 6SRW &UHDP XVHV ER SDLQ$OWKRXJKWKLVSURGXFWLVQRWLQWHQG
$OWKRXJKWKLVSURGXFWLVQRWLQWHQGHGWR WDQLFDOVVXFK DV OLFRULFH URRW H[WUDFW WR HGWRWUHDW¿EURP\DOJLDLWPD\KHOSZLWK
WUHDWRUFXUHVKLQJOHVLWFDQKHOSUHOLHYH QDWXUDOO\ IDGH DJH VSRWV IUHFNOHV DQG WKHSDLQDQGIDWLJXHFDXVHGE\¿EURP\DO
SDLQDQGLWFKLQJ“The MagniLife [gel] is RWKHU DJHDVVRFLDWHG GLVFRORUDWLRQV JLD³These tablets have just been WON-
the only thing that gave me relief after my ZKLOH SURWHFWLQJ VNLQ IURP KDUPIXO DERFUL. I’d recommend them to any-
case of shingles.”0LFKHOH*&$ H[WHUQDO IDFWRUV “It is fading my liver one and everyone!” -'HEUD:9
0DJQL/LIHŠ3DLQ ,WFK5HOLHI*HOLV spots. This product actually works!!!”  0DJQL/LIHŠ 3DLQ  )DWLJXH 5HOLHI LV
VROG DW 5LWH$LG 3KDUPDF\ ORFDWHG LQ 3DWULFLD& 1- VROG DW &96SKDUPDF\ DQG 5LWH $LG
WKH ¿UVW DLG VHFWLRQ 2UGHU ULVN IUHH IRU 0DJQL/LIHŠ $JH 6SRW &UHDP FDQ EH 3KDUPDF\ 2UGHU ULVN IUHH IRU 
  6 + IRU D  R] MDU RUGHUHGULVN IUHH IRU   6 +  6 + IRU  WDEOHWV SHU ERWWOH
*HW D )5(( MDU ZKHQ \RX RUGHU WZR IRUDR]MDU *HW D )5(( MDU ZKHQ \RX *HWD)5((ERWWOHZKHQ\RXRUGHUWZR
IRU   6 + 6HQG SD\PHQW RUGHUWZRIRU   6 + 6HQG IRU   6 + 6HQG SD\PHQW
WR 0DJQL/LIH 6+:$ 32 %R[  SD\PHQW WR 0DJQL/LIH $&:$ 32 WR 0DJQL/LIH ):$ 32 %R[ 
0F.LQQH\7;RUFDOO %R[0F.LQQH\ 7;  RU FDOO 0F.LQQH\7;RUFDOO
0RQH\EDFNJXDUDQWHH2UGHUQRZ  6DWLVIDFWLRQ JXDUDQWHHG  6DWLVIDFWLRQ JXDUDQWHHG 2UGHU
DWZZZ3DLQIXO5DVK5HOLHIFRP 2UGHUDWZZZ$JH6SRW6ROXWLRQFRP QRZDWZZZ3DLQ)DWLJXHFRP
 Open Book

Streets of Home
Montreal artist Marc Taro Holmes
(citizensketcher.com) has been blogging about
travel sketching for a decade. “I’ve been all over the
world painting epic views,” he says, “but lately, I’ve
been taking inspiration from everyday scenes of my
hometown.” Holmes painted this view, seen along
Montreal’s famous Boulevard Saint-Laurent, using a
direct technique. He reduced the complexity of the
urban street to just the boldest shapes and kept
it fresh by working directly with a brush on a
sheet of dry, 140-lb. cold-pressed paper.

YOUR TURN!
Show us a sketch inspired by your own hometown.
@ArtistsNetwork on Instagram: #everywatercolor_home

“OPEN BOOK”
S P O N S O R E D BY

72 Watercolor artist | DECEMBER 2018

 Intense. Vibrant. Lightfast.

“Artwork by Doug Purdon”

Professional Water Colour

Water colour, more than any other medium, reflects the unique
characteristics of the pigments used.
Winsor & Newton Professional Water Colours use only the finest pigments,
and are known for their brilliance, permanence and strength of colour.

Water Colour Paper

Take your watercolor to the next level with Winsor & Newton NEW
Water Colour Paper. All papers are made on a traditional cylinder mould at
the paper mill. Archival. Bright White. Available in both Professional and
Classic tiers. Try it today and feel the difference.
Are you interested in trying our paper for yourself?
To request a free sample go to: www.winsornewton.com/na/paper-sample.

www.winsornewton.com
*While supplies last. No purchase necessary. Only one per household. Must be 18 years or older.
Offer good in United States and Canada only – no PO Box. Expires January 15, 2019.
YOU HAVE THE VISION
"The intensity of the colors, no
granulation, and affordable price make
Blick Artists' Watercolors my top
choice in paint. My "can't do without"
color? French Ultramarine Blue."
— E.M. Corsa

Blue Boy artwork by E. M. Corsa, etsy.com/shop/EMCorsaArtShop

BLICK HAS THE SUPPLIES

We carry top-rated watercolor essentials from all your favorite brands,
including Blick Artists' Watercolor and Blick Premier Watercolor Blocks,
plus brushes, mediums, and accessories.

Shop in stores and online for an unmatched selection of art materials.

BLICK
®

DickBlick.com 800.828.4548