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

masking or opaque white was used.

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

Sun Strokes & Rain Fall | Jean K. Gill

22” × 30” (56cm × 76cm)

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

Vertical Painting Encourages
Directional Energy

My paintings incorporate abstractions derived from simplifications or
exaggerations of my photographs. Working with my paper vertical allows
gravity, with some misting, to facilitate downward flow. This fluid process
encourages granulation, spontaneous mixing and soft edges, and I retain
the directionality and energy of moving paint in the finished work. I plan
colors in advance but leave opportunities for improvisation, a strategy with
options. To infuse this work with contrast and drama, I imagined and
overemphasized the impact of a sun shower, wetting and intensifying
autumnal color. I enhanced backlighting, inventing sunbeams by lifting them

from dry paint.

Above the Firmament | Manette W. Fairmont

22” × 22” (56cm × 56cm)

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

Primitive Shapes Combine With
Luminous Light

My subject is the primitive landscape shapes and Mexican architecture
distinctive to the Sonoma Valley. An awareness of abstract design through
conceptual ideas permeates my work. I very often paint outdoors to capture
my emotional response to the vivid color and luminous light. To this end, I

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

Roots and Stems | Janet Nunn

21” × 29” (53cm × 74cm)

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

Capture the Brilliant Intensity of
First Snow

A foot of snow, our first of the season. The sun outside the window of my
studio was magnifying the brilliant white of the snow and creating a
showcase for color. My challenge was to capture this feeling of intense light,
shadow and color in a simple and natural way. Focusing first on the
oranges, yellows and reds, I moved the paint with a straw cut like a brush
to emulate the thin lines of the stems and added the roots with a darker
Cobalt Violet. With the roots in place, I painted the stark stalks of the aspen
trees and brought more realism to the painting. The finishing touch was the
addition of the blue shadow, mimicking the roots and stems and providing

balance.

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

Tahoe Rocks | Ming Franz

28” × 22” (71cm × 56cm)

Splash ink with watercolor on rice paper

Chinese Splash Ink With Watercolor

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

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

Blue Taxis – Japan | Nancy Fortunato

8” × 12” (20cm × 30cm)

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

Stretch Paper for Glazing

Japanese cab signs are so imaginative and very eye-catching. At night the
streets of Kyoto are pure cascades of colorful lights. My vivid memories of
our travels, along with my photographs, helped in capturing the exciting city
lights. Blue Taxis – Japan has more than twenty glazes of several
different blues including Peacock Blue and Pthalo Blue—and no tube black
for the intense darks. Stretching my paper allows me to glaze over color
without having to use a hair dryer to keep the paper from buckling. I did not
use masking fluid for whites, but simply painted around the light areas. I
use only kolinsky sable hair brushes to apply a glaze, as the hair of the
brush does not lift the undercolor as most synthetic brushes do.

The Path | Dean Shelton
14” × 11” (36cm × 28cm)
Transparent watercolor on 140-lb. (300gsm) Arches paper

Lots of Sketches and Several
Paintings Later …

This lighthouse is located on the Oregon coast. As my wife and I were
driving up the coast to visit family, we stopped to spend the night. I could

see the lighthouse as the evening sun poked through the holes in the dark
clouds. I grabbed my camera and ran to capture the scene. I later
experimented with composition and color. I did a lot of sketches and several
paintings of the lighthouse in both watercolor and oil. The path was added
last using a heavy concentration of Cadmium Orange on top of the still-wet
dark foreground.

8
People in Motion and Emotion

Tales of the North Fork | Susan Montague
15” × 22” (38cm × 56cm)
Transparent watercolor on 300-lb. (640gsm) hot-pressed Arches
At a Mountain Man Rendezvous in the foothills of Denver, I witnessed this
passionate storyteller. The light was high and strong, casting interesting
shadows across his face and clothing. Working from my black and white
photo, I chose a palette and techniques to add texture and a casual
element, mirroring the style and times of the character.

Something’s Biting | Marie Natale

11½” × 18½” (29cm × 47cm)

Transparent watercolor

Push Color to Enrich Skin Tones

A friend shared this photo of his grandchildren on a balmy summer day. I
was instantly drawn to the strong contrasts between the sunlit skin tones on
the boys, the crisp sunlit dock and the deep rich foliage in the background. I
pushed the color, enriching skin tones, brightening the swimsuits and
punching the luminous red-orange of the bucket. I painted the boys first,
then achieved the dark background by using thick, rich pigment. I captured
the brilliant afternoon light by carefully holding onto edges of white
surrounding the boys, the dock and their fishing poles.

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

—Marie Natale

Which One? | Keiko Yasuoka

15½” × 22” (39cm × 56cm)

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

Effect of Two Light Sources

During a visit to my parents’ home in Japan, I went to the summer festival,
which is always very lively, colorful and jubilant. I had my camera in
anticipation of finding painting subjects. Among all the activity, I was
attracted to a little girl trying to decide which ball she wanted to get. I was
especially fascinated by the two light sources: direct and indirect, but
especially the indirect light reflecting onto the little girl. In order to create
the mood, harmony and light that I desired, I mainly used two pairs of
complementary colors, yellow and violet plus orange and blue.

Caribbean Spice | Nancy Near

21” × 21” (53cm × 53cm)

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

Some Subjects Call for a New
Approach

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

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

My Brother’s Keeper | Laurie Goldstein-Warren

30” × 22” (76cm × 56cm)

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

Light Inspires a City Scene

I was in Memphis one morning, photographing the city and the people on
the street. I saw this man crossing the park in a very purposeful way. He
then crossed the street and slowed his pace. Just as he reached into the city
trash container and pulled some food to his chest, the sun came out from
behind the clouds and I took this photograph. The sunlight gave a glow to
his unkempt curly hair. I knew immediately that this was an image to paint,
a story to tell.

Sometimes the beauty of light can last only an instant … be ready.
—Laurie Goldstein-Warren

Mystery Man | r. mike nichols
23” × 17” (58cm × 43cm)
Transparent watercolor on 300-lb. (640gsm) cold-pressed paper

Let Your Inner Child Solve a
Painting Problem

I was attracted to this image because of the light reflecting off the glass
surface. But working from a photograph that revealed a collage of confusing
interior and exterior imagery was a challenge. As a kid I adored paint-by-

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

Patience | Vanessa Calica Baladad

9” × 12” (23cm × 30cm)

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

Capture Unique Effects With a Toy
Camera

Lately I like taking pictures with my digital toy camera (as opposed to my
expensive DSLR) because of its charm in making unpredictable distortions to
light and color. Inspired by Jean Grastorf’s pouring technique, I used three
primary colors plus Burnt Umber to paint this picture of my fiancé waiting
his turn in a martial arts competition. As he waited for almost eight hours
that day, I was lucky to capture this moment of patience. The camera’s
distorting effects made the ornate carpeting into an almost surreal
landscape and brightened the blue painter’s tape. I don’t think the same
effect would have been achieved if the photo had been taken with a

standard camera.

Remember | Susan Montague
20” × 15” (51cm × 38cm)
Transparent watercolor on 300-lb. (640gsm) hot-pressed Arches

Find Special Qualities in Your
Subject

At the Martin Luther King Jr. parade in downtown Denver, the sun was high

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

Meadow’s Edge | Susan Montague

22” × 22” (56cm × 56cm)

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

Hands Express Personality Traits

This young man was part of the Mountain Man Rendezvous in the foothills of
Denver. I was drawn to his unusual body language as he paced throughout
the meadow by himself. After watching him, I realized he was possibly
autistic. At the campsite I caught this picture. His delicate hands seemed to
mirror the sensitivity in his face. The strong, high light supplied beautiful
shadows on his face and clothing, and I chose to keep his face and hands

pale to portray his vulnerability.

California Grandpa | Lynda A. N. Reyes
29” × 21” (74cm × 53cm)
Transparent watercolor on 300-lb. (640gsm) cold-pressed Arches

Colors Create Visual Drama

California Grandpa was painted in my studio after a study of a crowd at
an art fair. I chose transparent watercolor to capture the vibrant light and
color interplay. Cadmium Orange and Yellow evoke colors of California

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

A Walk on Historic Jackson | Marie Natale

15” × 22” (38cm × 56cm)

Transparent watercolor

Apply Juicy Color Quickly and
Cleanly

While painting en plein air, I turned and was struck by this classic Cape May
scene. A quick photo reference and on-site value study, this scene came to
life later in my studio. The radiant light of this early morning scene came
alive by focusing on the strong relationship between the light and darks. I
achieved strong contrasts cleanly and quickly by applying juicy, rich color
onto dry, unstretched cold-pressed paper. With an upright easel and large
sable rounds, I invited my color to blend and run together, achieving loose,
luminous and colorful results. I love the challenge of holding onto crisp
whites for a sun-kissed effect without the use of masking fluids.

Sidewalk Raphael | Kris Preslan
22” × 16” (56cm × 41cm)
Transparent watercolor on 140-lb. (300gsm) cold-pressed Arches

Breathe in the Artistic Air of Italy

Florence, Italy: where the Tuscan cerulean sky merges with the terra cotta
colors, the siennas and umbers of the local earth. Among the background of
light-hearted carousel music on the Piazza della Repubblica, and the
laughing and shouting of the passers-by, the footsteps slow to a stop, coins

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

The Professor | Deborah Swan-McDonald

13” × 18” (33cm × 46cm)

Transparent watercolor with charcoal pencil and rice

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

Lighting Echoes Character

One of my students brought her cousin to visit the watercolor class I teach.
He had been a professor at a university and had partaken in many
adventures. As he stood by a window in the classroom, the light created
dramatic rim lighting on his face, so I took a quick photo. Later, when doing
the painting, I saw that the lighting could help portray the thoughtful
character of my subject. I also took a risk and decided to integrate charcoal
pencil into the painting. First I put in a sketchy charcoal drawing. Next I
painted with transparent watercolors using limited colors with an emphasis
on value. Finally I added some rice paper collage to give a rougher texture

to the wall.

Survivor | Christine Misencik Bunn

14¼” × 16½” (37cm × 42cm)

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

Light/Dark Contrast Expresses Hope

Perhaps this portrait is the most deeply felt of all my work. I wanted to
make a statement about my model’s courage, so my palette choices were
primary colors emphasizing the reds. I mixed nuanced red washes and
layered them in, considering value, intensity and temperature. Seated in the
sunshine on the back step, the dark glass on the door encompassed the
model’s bald head like a halo, while the warm sun emphasized her pale
facial color. My goal was for the viewer to experience, through the use of
dark/light contrast, my subject’s illness giving way to healing through the

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

An Ancient Tune | Fealing Lin

21” × 15” (53cm × 38cm)

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

Peachy Warmth Inspires Relaxation

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

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

Breaktime | Jimmy Tablante

11¼” × 15 1⁄8” (29cm × 38cm)

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

Blurring of Over-Enlargement
Enhances Scene

One bright, sunny day, I noticed a group conversing on a patch of grass near
the corner of King and Bishop Streets in Honolulu. The deep emotive colors
combined with the strong contrast and interesting environment made it a
perfect painting subject. I took a quick picture with my cell phone and
headed straight to the print shop. I loved how the blur effect on the large
print enhanced the beauty of the scene. I was quite inspired! I started on it
that night and painted with clear focus until dawn. Finished! Though I had
used only watercolors, to my surprise the painting looked like oils or acrylic

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

Brothers In Arms | Kim Johnson
30” × 22½” (76cm × 57cm)
Transparent watercolor on 300-lb. (640gsm) cold-pressed Arches

Lose Edges to Connect Foreground
With Background

Two brothers walking arm in arm and playfully kicking up their heels on a
summer day was inspiring. I paint from a black and white print for two
reasons: I like to work out the composition on my computer before I print it,

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

Catch of the Day | Anne Chaddock

30” × 22” (76cm × 56cm)

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

Colors Play the Music of a Scene

One of my students gave me the photograph of her husband and his friends
fly-fishing. The body language and movement of the figures combined with
the movement of the water made constant music to me. Soft Cobalt Blue is
the basis and local color for the painting. Permanent Rose and Cadmium
Yellow Light complete my color wheel, with Transparent Red Oxide and

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

Honeymooner | Kim Johnson

15½” × 15” (39cm × 38cm)

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

Glazes for Multicolor Shadows

Honeymooner was inspired by a photo of a man on his honeymoon who
coincidentally was wearing a Honeymooners T-shirt! His sunglasses and hat
left him nearly entirely in shadow, but I loved how the strong cast shadows
sharply defined his face and shoulder. Rather than use a typical gray palette
for the shadows, I contrasted the white background with color to convey the

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

The Storyteller | Annelein Beukenkamp

15” × 22” (38cm × 56cm)

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

The Spark of Excitement for Your
Subject

The spark has to be ignited right from the beginning, whether it is in the
color, shape, emotional connection, memories or something else about your
subject. The Storyteller lit that spark for me. I spotted him at a sunny
sidewalk café animatedly recounting his tales. With the dramatic lighting on
his face and clothes I knew I would have something to work from back in
my studio. The background colors are imagined—an assortment of hues that
complement his skin tones. I enjoy loose and flowing pigments with a
balance of soft and hard edges, warm and cool colors, and bright and
neutral shades.

Girl in Motion | Ted Nuttall

14” × 12½” (36cm × 32cm)

Transparent watercolor

Yellow Adds Essential Energy

At the Martin Luther King Jr. Day parade in downtown Denver, Colorado, I
stood facing the mass of marchers and photographed into the crowd of
faces passing by. When I had time to study my efforts, I was riveted by this
powerful frame. The young lady’s direct and purposeful expression
represented to me the essence of the present generation’s affinity for the

great figurehead they were celebrating and the cause for which he stood. I
was very purposeful with my painting process to speak to the essence of the
title both in capturing the light and the impression of loose spontaneity. My
use of yellow permeating the composition added an essential energy to the
story as well.

Contributors
Kathleen Alexander
WW, NWWS
P.O. Box 300, Pacifica, CA 94044
650.455.0998
[email protected]
kathleenalexanderwatercolors.com
Village Gallery, Lahaina, Maui
Abundance
Yellow Hibiscus
Jennifer Annesley
BFA, CSPWC
[email protected]
annesleystudio.com
Canada House Gallery
Pantheon
Teatro
Jan Archuleta
CWS, NWS
7148 Orchard St., Arvada, CO 80007
303.403.1047
[email protected]
janarchuleta.com