Splash 14 - The Best of Watercolor _ Light & Color ( PDFDrive )

Best of Watercolor

Splash 14
Light & Color
edited by Rachel Rubin Wolf

CONTENTS
Introduction
1. Fresh Flowers
2. Colorful Destinations
3. The Still Life
4. Water and Boats
5. Not So Wild Life
6. Our Designs and Devices
7. Landscape View
8. People in Motion and Emotion
Contributors
About the Editor
Acknowledgments

Copyright

Morning Cyclist | Fealing Lin

15” × 21” (38cm × 53cm)

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

Low Sun Provides Unified
Silhouetted Shapes

Although portraits are my favorite subjects for watercolor, I also love the
energy I get from painting landscapes. For portraits, I take a Zen approach,
glazing layer after layer of transparent washes; for city and landscape, I rely
on a very limited number of brushstrokes to tell the story. Between the two
subjects and techniques, I’ve discovered a necessary balance in my painting
life. Working from a photo, I simplified the silhouetted shapes and took the
opportunity to play with color inside those shapes.

Introduction

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

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

For Dave Maxwell, “An ancient English motorcar with chrome surfaces
reflects midday sunlight from a surrounding enclosure of buildings, providing
shapes for whimsical abstract designs.” Preparing for breakfast, Frank Spino
was captivated by color while watching his wife squeeze “oranges over the
ribbed dome of the juicer when one of those longed-for lightning bolts of
inspiration struck.”

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

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

—Rachel Rubin Wolf

1
Fresh Flowers

Tulips | Keiko Yasuoka
10” × 15” (25cm × 38cm)
Transparent watercolor on 300-lb. (640gsm) cold-pressed paper
I waited for the early afternoon sunlight to bathe the tulips through the
kitchen window. The highlight in the flowers is the pure white of the paper.
Many layered washes were applied to create the soft and transparent colors
in the petals.

Abundance | Kathleen Alexander

27” × 39” (69cm × 99cm)

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

Reflect Your Feelings

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

Yellow Hibiscus | Kathleen Alexander

21½” × 29½” (55cm × 75cm)

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

Three Photos Equals One
Composition

Yellow Hibiscus began with three separate photos. I used Adobe
Photoshop to piece together and resize each of the three floral elements in
the composition. I established the shadows and veins in the petals first,
using Cobalt Blue and Winsor Violet, then glazed over the petals using
Aureolin, New Gamboge, Quinacridone Gold, Pyrrole Orange and Naphthol
Red. By dropping in clear water, I took advantage of blooms to add
highlights and more veining texture to the petals. I used Indigo in the
background and carried it into the veins of the leaves. The contrast between

overlapping petals and backlighting against the complementary Indigo
background creates drama and radiance.

Spring Preview | Michelle Goll Smith

18” × 24” (46cm × 61cm)

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

Paint What You Are Drawn To

Every February the saucer magnolia trees come into bloom. I think of it as a
preview of the upcoming spring season. My neighbor has one of these
beautiful trees, which I have admired for years, hoping to paint one of those
large, pretty blooms one day. Finally, I knocked on her door and she gladly
cut a few of them for me. I placed one in a small crystal vase near a sunny
window and loved how the petals lit up and the crystal cast colorful prisms.
I made the background simple and quite dark so the magnolia would stand
out and layered several transparent glazes for the rich color of the petals.

Glimpse | Jeanne R. Johnson

21¾” × 14 3⁄8” (55cm × 37cm)

Transparent watercolor on 400-lb. (850gsm) cold-pressed paper

Photograph the Perfect Moment

I walked through a shaded garden in Florida and came across this brilliant
red flower wedged in a cool dark rocky cleft. The sun was just going down
and the last narrow beam of sunshine spotlighted the foliage before the
clouds shifted and pushed the image into darkness. I photographed the
moment. I wanted to capture the contrast of light against dark, hard edges
versus the soft edges, and the brilliant colors in the flower and leaves. I
used a wet-into-wet technique, relying on sponges to get the texture of the
rock and then back painting into these marks. I mix my blacks to keep them
warm and vibrant.

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

—Jeanne R. Johnson

Greenwich Park Rhodies | Jaimie Cordero

11” × 15” (28cm × 38cm)

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

Stretch Your Paper for Wet
Techniques

During a brief and exceptionally sunny visit to Greenwich, England, I rose
each morning at sunrise to walk to Greenwich Park. I was treated to
dazzling glimpses of flower markets, sunlit trails and sun-splashed gardens
that inspired a series of paintings. I take hundreds of photos on each outing.
My paintings have a brushless look, which I achieve by pouring paint on or
off my paper. Since my paper gets soaked, I first stretch it and tack it to a
Gator board using heavy-duty staples. This ensures that my paper returns to

a completely flat position after each layer of color dries.

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

—Jaimie Cordero

After Shower | Ran Mu

16” × 22” (41cm × 56cm)

Watercolor on Arches

Express Beautiful Detail With Your
Brush

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

Butterflies Are Free | Nancy Baay

20” × 30” (51cm × 76cm)

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

Play With Tissue Paper

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

Beauty Beheld | Marie Lamothe

23” × 19” (58cm × 48cm)

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

Don’t Overlook the Markings of Time

The velvety roses were in honor of our wedding anniversary. For several
days smooth perfection graced our lives. However, in the end, the markings
of time were most evocative to my artistic soul: the poetic nod to
inevitability, the subtle but beautiful discolorations, and the lacy, shriveled
edges set ablaze by the low autumnal sun. The dark, luscious background
echoes the color of the petals and, along with the green of the stems and
glass, created a limited palette and provided a strong foil for the painting’s
focal point: the glorious light.

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

—Robert Brault

Encore | Mary Backer

29” × 41” (74cm × 104cm)

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

Try “Wet Blending”

The blossoms of this cactus are basically white. White has so much color in
it; in this instance I saw creams, pinks, violets and a warm gray. I use a
technique I call “wet blending.” I add water and/or color as I paint on dry
paper. This allows the colors to blend in a more controlled version of
working wet-into-wet. The forms and color intensity are developed slowly
with multiple layers of pigment. This cactus was growing wild in a coastal
field in Santa Barbara, California, struggling to survive in a harsh
environment. This is an area that is fast disappearing to development, and I
wanted to capture the hope that beauty will survive.

Healing Echinacea | Jan Archuleta

20” × 14” (51cm × 36cm)

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

Grab Your Inspiration

I was biking along the Yampa River in the mountain town of Steamboat
Springs, Colorado, and noticed a back entrance to the Botanical Gardens. I
walked through the gardens, and I was inspired to do a painting of the
echinacea the moment I saw them. They were glowing in the sunlight, and
the upper petals cast dramatic shadows on the lower petals. I gently

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

Mr. Daly’s Roses | Donna Lesley

20” × 26” (51cm × 66cm)

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

Experiment With Different Lighting
Conditions

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

different kinds of lighting conditions again in the future.

Parrot Tulip With Blue | Alfred Ng

20” × 20” (51cm × 51cm)

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

Minimize Layers to Preserve
Translucency

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

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

2
Colorful Destinations

Fishmarket, Venice | Kristina Jurick
14” × 21” (36cm × 53cm)
Watercolor on 140-lb. (300gsm) grain fin Arches
For one glorious week, I painted in Venice with four artist friends. We rose
early to catch the fantastic morning light streaming through the red plastic
curtains of the fish market. It was not easy to find a small corner to set up
an easel in the hustle-bustle. The color splashes on the wall told me other
artists had been there before. Tourists still asleep, a radio playing and one
happy salesman singing along to opera on the radio. What an inspiring
atmosphere to paint!

Wicked | Don Gore

12” × 12” (30cm × 30cm)

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

Don’t Overlook Simple Snapshots
From Life

This particular composition caught my eye while on vacation in New York.
Out of the much larger overall view of the photograph, my subject was
cropped down to the scene in this painting. I was drawn to the dark
shadows of the foreground against the sunlight across the street, which

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

42nd Street Pizza, New York | Charlotte Knox
40” × 16” (102cm × 41cm)
Transparent watercolor on 140-lb. (300gsm) rough Arches

Notice the Light and Color You
Hurry By

For this painting I worked from photographs taken on my way to and from a
Sunday brunch. The light wasn’t quite right on the way there, but when I
came back it was perfect. I especially wanted to capture the intriguing

shadows cast by the fire escape, so quintessentially New York. Before
starting on the watercolor I spent some time using Photoshop to crop and
rearrange the elements so as to bring them to life and create a composition
reflecting what originally excited me—the light and color we normally hurry
past without fully taking in.

The Mall | John Salminen

29½” × 35” (75cm × 89cm)

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

Creating the Effect of Filtered Light

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

Market Street | John Salminen

35” × 35” (89cm × 89cm)

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

Create New Light Conditions if Your
Photo is Flat

I painted Market Street from a photo I took when I was in San Francisco,
one of my favorite cities. The light in my photo reference was flat and
uninteresting due to the midday haze in the air. While the photo recorded
the detail I needed, it lacked drama. I made a decision to change the light

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

Concrete Factory – Vancouver | Thomas W. Schaller
30” × 22” (76cm × 56cm)
Transparent watercolor on 140-lb. (300gsm) rough Saunders paper

Industrial Landscapes Offer Rich
Lights and Darks

I attempt to exploit the full range of watercolor’s potential within a single
work whenever possible: using everything from very wet-into-wet
techniques, to near-opaque dry brush. This subject perfectly represents my

current interest in abstract value composition within a representational
format. Surprising and inspirational areas of bright lights and rich darks are
often found in such industrial landscapes. I am fascinated by both the
shapes of the built environment and the stories that those environments
have to tell. Factories and industrial scenes hold rich and countless stories
of all those who plan and work in them.

Shadows of the Tuscan Sun | Judy Nakari

21” × 21” (53cm × 53cm)

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

A Variety of Yellows Portrays a
Sunny Day

I led plein air painting workshops in Tuscany, near the village of Lucca from
2003 through 2007. This painting portrays a vacation feeling, in this case,
the Cinque Terra. Working from my photograph, the bright yellow umbrellas
with their colorful shadows leave no doubt that this portrays a sunny day in

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

Pantheon | Jennifer Annesley

21” × 14” (53cm × 36cm)

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

Let Ancient Landmarks Inspire You

Rome’s Pantheon figured large in my art history studies, but the scale and
beauty were larger than I had imagined when I found myself right there.
The portico columns are so massive, one feels as if one is standing in a
monumental ancient forest. The lyrical play of light on the polished marble
and worn cobblestones of the Piazza della Rotonda balances the heaviness

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

Teatro | Jennifer Annesley

14” × 21” (36cm × 53cm)

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

Complements Can Give Relief for the
Eye

While in Rome, each evening we walked by this wonderful facade that
reminded me of a vintage theater. Its graceful iron awning and elaborate
lamps were a welcoming beacon. I photographed this entrance every night
for a week. Back home in my studio, I referenced several of my photographs
to compose this piece. Painting light in watercolor requires much planning
and discipline. The challenge is leaving the paper blank where the lights and
specular highlights are to conserve the brightest white possible. The cooler
temperature of light is created with Paris blue in the halo around the two
lights in the awning. The use of blue gives relief and a counterpoint to the
overall warm gold tone.

Minerva – G.C.T. | Michiyo Fukushima

19¼” × 28” (49cm × 71cm)

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

Understand Your Light Sources

Using my photo reference, the form is created and defined little by little by
building values with multiple wash layers. It is essential to demonstrate
understanding of the location and number of light sources, especially with
night scenes where artificial light varies in strength and color. Maintaining
three-dimensional form and consistent lighting is challenging, but focusing
on value helps the process. Where light exists, shadow exists. There is a full
spectrum of color in light. Beauty is found in any situation where light and
shadow create colorful harmony.

Night in Dresden | Fealing Lin

15” × 21” (38cm × 53cm)

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

A Cold Night Scene Warms Hearts

Dresden was totally destroyed by the bombing during World War II. I was
overwhelmed by this completely reconstructed city in Germany. The scale
and beauty of the architecture took my breath away as I wandered in the
streets on many nights. I did this painting as a demo for an art association
on a very cold winter night, after getting lost for an hour in the dark on my
way to the location. How fun to paint one of my favorite teaching subjects—
a night scene—on that night. The small round street lamps were lifted
shapes. The lampposts and light lines in the street were scraped by a credit
card.

Across the Street From Grand Central, NYC | Dorrie Rifkin

16” × 20” (41cm × 51cm)

Transparent watercolor on Strathmore Wet Media Board

Colorful Stories of a NYC Street

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

City of Light, Paris | Frank Eber
15” × 11” (38cm × 28cm)
Transparent watercolor on 140-lb. (300gsm) rough Arches

Cool Paris Light Unlike South of
France

What I love about Paris is the diffuse light that weaves around the stark
shapes of its buildings, especially during sunrise or sunset. Details are kept
to a minimum to emphasize the softness of this light. The Parisians on the

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

Waiting for the Lunchtime Crowd | Carla Gauthier

30” × 22” (76cm × 56cm)

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

Backlighting Transforms a Scene

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

Backlit subject matter requires colorful underpainting.
—Carla Gauthier

Shanghai Rainy Day | Zhanguo Liu

165” × 228” (420cm × 580cm)

Watercolor on Lana watercolor paper

Find Your Keynotes of Color and
Value

It seems that water can be squeezed from the air in the rainy season of
Shanghai—which suits watercolor painting just fine! I took a photo of the
beautiful sight that day. Back home, I saturated the Lana paper with water
on the reverse side first, then the keynotes of color and value were set with
a broad brush on the front side. I take my time finding the shapes of the
buildings. The reflection of the car light on the slippery road was reserved in
advance—I never use masking fluid. Finally, the whole picture was
completed leisurely on the basis of the keynotes.

My Perspective | Catherine Hillis

16½” × 17” (42cm × 43cm)

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

Build Light With Many Wet Glazes

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