Watercolor Artist Blog

Creativity Workshop: Pour It On

Sarah — Thu, 05 Nov 2009 13:57:51 GMT

Pat San Soucie explains how she painted Bright Landscape (above; watermedia and crayon on paper, 30x22):

"I wetted the entire surface before pouring red, yellow and blue acrylic mixes, then used aquarelle crayons to create circle and oval shapes. I also played with small dots of complementary colors, adding metallic pigments and scrubbing to accentuate tree shapes and ﬁeld forms. Additional contrasts of smoky grays added the ﬁnal touches."

You'll find the artist's 10-step paint pouring demo in the December 2009 issue of Watercolor Artist.

Create a rich, textural underpainting using San Soucie’s pouring and tissue paper blotting techniques. From there, build up an exciting abstract design using her methods or your own experimental techniques; or, for a more realistic approach, use the poured underpainting as the start to a rich landscape, ﬁgure or still life painting. Send a JPEG (with a resolution of 72 dpi) of your painting to wcamag@fwmedia.com with Creativity Workshop in the subject line, and tell us about your process. We’ll choose our favorite paintings and publish them on our website. One entrant will receive a six-month subscription to ArtistsNetwork.tv online video work-shops, plus $50 worth of North Light ﬁne art books. The deadline for entry is December 15, 2009.

MORE RESOURCES FOR ARTISTS

* Online Seminars for Fine Artists
* Instantly download fine art magazines, books & video workshops
* Sign up for your Artist's Network email ndemos

5 Insider Tips for Entering Art Competitions

Kelly — Thu, 29 Oct 2009 15:18:37 GMT

In case you haven't heard, we wrapped up the judging of our Watermedia Showcase competition a few weeks ago (Sorry, no spoilers here. You're going to have to wait for the February issue to see the winners announced.), and just a few weeks before that, a colleague and I juried a local arts fair. In general, I love to jury shows. For one thing, I love looking at great art, plus shows are a great way to find new talent to feature in the magazine and gauge trends—Are there more abstracts than usual this year? Is mixed-watermedia still hot?

As a juror, I always approach a competition with such high hopes, which is why it's so frustrating when I see people shoot themselves in the foot by not adhering to the rules of the competition or by simply not giving the presentation of their work the proper due. Here are some important dos and don'ts for entering art competitions.

1. Do use your own photo references. It's embarrassing and damaging to all involved when a prize must be revoked because it's been determined that an artist has used someone else's photos as source material.

2. Do make sure the photography is high-quality. It's unprofessional and distracting to see someone's backyard fence framing a painting in the slide or digital image. Crop! Also, if the painting is poorly lit, it can't be judged properly, and almost always gets disqualified right off the bat.

3. Don't pander to the jurors by submitting work that looks just like theirs. They see right through that; and, trust me, it wins you no points.

4. If the exhibition has a variety of categories (landscapes, abstracts, figures, etc.), don't stretch the interpretation and enter a loosely painted landscape into the abstract category, for example, simply because that category generally gets fewer entries, and you think it will increase your chances of winning. It just encourages the juror to assume you don't understand your own work.

5. Don't get discouraged if you don't win. Lots of terrific paintings get rejected in competitions that pull in a lot of entries. Consider that you may never know how much a juror may have struggled over the decision. You may have been THIS close.

Maureen Bloomfield, editor of The Artist's Magazine, and I will be sharing more insider tips on how to make intelligent choices when deciding what shows and competitions to enter, so that you don't throw away your money or your time. Catch us live Tuesday, November 3 at 1:00 (EDT) for Entering Art Competitions: Enhance Your Chance of Success.

Notes from North Light: Your A to Z Guide to Watercolor

Jennifer Lepore — Tue, 27 Oct 2009 15:14:28 GMT

A strong drawing will allow you to paint loose while still retaining a good likeness. Follow along with this advice for painting people from Grant Fuller's Watercolor A to Z:
1. Draw from reference, checking your proportions.
2. Wash the figure and background together, leaving areas of white paper for the lightest lights.
3. Work darker and smaller, strengthening shapes.
4. Finish sparingly, adding some details, but allowing the viewer's imagination to fill in the blanks.

For those of you not familiar with this 2008 North Light book, you can learn more about Watercolor A to Z in Jen's Picks here, or check out Grant Fuller's recent feature in the September/October 2009 issue of Canadian Brushstroke Magazine here.

Four Steps to a Sketch

Jessica — Mon, 19 Oct 2009 18:33:46 GMT

According to award-winning artist and popular instructor David R. Becker, a painting should always begin as a sketch, and there are four elements of any good one. In this free download—an excerpt of the special report from the June 2005 issue of Watercolor Magic (now known as Watercolor Artist)—Becker explains these rules and why you should never skip this important first step in your painting process. Click here to get our free download on the four elements of a watercolor sketch.

By the way, the entire 2005 Watercolor Magic archive is now available on one space-saving CD. Find it in our online store, and follow us on Twitter for a special discount and other Watercolor Artist promotions.

MORE RESOURCES FOR ARTISTS

* Online Seminars for Fine Artists
* Instantly download fine art magazines, books & video workshops
* Sign up for your Artist's Network email newsletter & receive free fine art tips & demos

Notes from North Light: Sculpt Intricate Details of Light

Kelly — Tue, 13 Oct 2009 18:47:33 GMT

To achieve the beautiful effects of soft yet radiant light for the piece Dawn (left), artist Robin Berry uses small scrubber brushes as well as toothbrushes to blend and blur the hard lines created by masking fluid. Berry, a potter as well as a watercolorist, refers to this softening and rounding the edges as “sculpturing” the light, a process she likens to the act of molding clay.

For large areas, Berry first sprays the areas with clean water, then uses a wet toothbrush to scrub the hard edges with a small circular motion. For smaller areas, she uses a small scrubbing brush that's wet with clean water to gently scrub the area. If you need to repeat this, dry the paper well before doing so, as too much scrubbing can puncture the paper. As you can see, this gentle touch is worth the effort.

You can see how Robin Berry created this piece from start to finish in Watercolor Secrets, edited by Rachel Rubin Wolf.

New Watercolor Download

Jessica — Fri, 09 Oct 2009 14:27:05 GMT

Fortunately for watermedia artists, there are lots of ways to create compelling textural effects. John Salminen demonstrates nine ways to do so with transparent watercolor in this new digital download. At $1.99, it’s an affordable Friday treat!

Click here for John Salminen’s digital guide to creating texture in watercolor.

MORE RESOURCES FOR ARTISTS

* Online Seminars for Fine Artists
* Instantly download fine art magazines, books & video workshops
* Sign up for your Artist's Network email newsletter & receive free fine art tips & demos

14 Alternative Spaces to Show Your Art

Kelly — Tue, 15 Sep 2009 17:14:55 GMT

When you're just starting out, galleries aren't exactly beating a path to your door. Here are some alternative places that might provide opportunities to exhibit your work.

Corporate Offices
Restaurants
City Offices
Other venues: Churches, university galleries, libraries, upscale bookstores, upscale hair salons, architecture firms, interior design firms, law offices, convention centers, airports and private clubs.

Ready for the next step? Read our tips for getting your foot in the gallery door in the October issue of Watercolor Artist, on sale now.

Paint in a Series to Win a Prize

Fri, 28 Aug 2009 15:10:42 GMT

Find out what took watercolorist M.E. "Mike" Bailey from painting one (left) to painting 83 (right) in our Creativity Workshop column. (Find it in the October 2009 issue of Watercolor Artist or read an excerpt online.) And don't forget to enter your paintings to win our prize: One entrant will receive a six-month subscription to ArtistsNetwork.tv online video workshops, plus $50 worth of North Light ﬁne art books. The deadline for entry is October 20, 2009.

Free Friday Watercolor Demo

Jessica — Fri, 07 Aug 2009 13:45:04 GMT

Soon Y. Warren, featured in the October 2009 issue of the magazine (now on its way to subscribers), offers a demonstration on using complementary colors to energize a painting.

Click here to download the free PDF.

Happy weekend!

Soon Y. Warren, A Young Blossom (watercolor on paper, 21x14)

Saving Whites Is Kid's Stuff

Kelly — Fri, 24 Jul 2009 19:28:34 GMT

In the August 2009 issue, Cathy Johnson explored various ways to save the white of the paper with liquid and dry resists. Here are a few of my favorite tricks that you can try with materials you probably already have lying around the house—if not, just ask your kids or grandkids.

Regular crayons—yes, the kind you used as a kid—work perfectly well as resists. White will give the white-paper effect when painted over, as you see above, but you can also use any of the colored crayons for a more colorful effect. Caran d’Ache’s Neocolor I or other waxy, artist-quality crayons work beautifully, too.

To save whites, you can place a sheet of wax paper over your watercolor paper and draw firmly with a blunt burnishing tool. Enough wax is deposited in this process to make wonderful, fine white lines for grasses, twigs, leaf veins, the shine on hair or decorative elements. In this case, Cathy made lines that suggested the direction of hair masses.

Cathy used a white birthday candle as a resist for this quick sketch of a waterfall.

See more of Cathy's tips in the August issue of Watercolor Artist, on newsstands now. And for even more from Cathy, check out her book, Creating Textures in Watercolor.

Creativity Workshop Winners!

Fri, 10 Jul 2009 16:06:38 GMT

In the June 2009 issue of Watercolor Artist, Nicholas Simmons challenged readers to use Photoshop to develop new creative avenues in their compositions. "Viewing your composition through the lens of a graphics editing program is a fascinating way to explore the endless possibilities hiding in your work—if not also in your head—and to stimulate new ways of thinking and seeing," he said. We're now pleased to announce the winner of our $100 gift certificate to North Light books: Elise Beattie of Paducah, Kentucky with Painted Lady. Find out where she took this reference photo (above) on our site: http://www.artistsnetwork.com/article/wca_creativity_beyond_the_ordinary_responses/

Turn Any Space Into a Studio

Kelly — Wed, 08 Jul 2009 18:36:13 GMT

In the August issue of Watercolor Artist, on newsstands now, we visited the studios of three top watercolor artists and brought back their best advice for how to convert nearly any space—from an unfinished room in the basement (like the one used by John Salminen) to a sunny room off the kitchen (like Donna Zagotta's) or a tidy second-floor loft (like Laurin McCracken's)—into a studio. Here's a sampling of their best advice:

Do begin with the basics. John Salminen believes must-have supplies depend on an individual’s painting process. His? A large, flat work surface.

Do place a premium on storage. “The shortcoming of most peoples’ studios is inadequate storage,” says Salminen. Plan for more storage space than you think you’ll ever need, so you’ll have places for all the bulky items that come with painting—from framing supplies and framed paintings to shipping crates.

Do think creatively about furniture. It doesn’t have to be made for an artist in order to work in the studio. Laurin McCracken uses a small kitchen island as a taboret and stores additional supplies behind him on a baker’s rack. Other ideas: TV stands, microwave carts, plastic storage drawers on wheels or small shelves.

Don’t forget the water. Being near a water source makes it easier to get fresh, clean water for your containers, which McCracken says many of his workshop students don’t do often enough. He also recommends using warm water.

Don't short shrift your work table. “It should be waist-high to facilitate watercolor painting,” says Donna Zagotta.

Do be patient. “I believe that a perfect studio doesn’t happen overnight, but evolves over a number of years through experience, trial and error, and a constant examining of your ever-changing needs as an artist,” says Zagotta.

For more tips on setting up a studio, check out the special report "Inside the Artist's Studio" in the August 2009 issue of Watercolor Artist.

Swipe File: Reader Tip for Transporting Paintings

Wed, 01 Jul 2009 12:33:54 GMT

Watercolor Artist reader Bonnie E. Rodgers of Papillion, NE, shares her latest homespun solution for a common painting problem:

"Carrying paintings around can be a challenge because of the possibility of the edges and surface becoming damaged. Pipe wrap can be used to protect any size of painting by cutting it to the length of each edge. This is a great way to package your paintings for shipping also. Simply cut the pipe wrap to the paintings size and slip on. (Note: the black version works best because it comes in sizes of 1/2-inch to 2-inch openings. The beige version shouldn't be used because it has an adhesive that will leave residue on the painting or glass. It's also more brittle than the black.)

"Pipe wrap is also good for carrying brushes. It can be cut longer that the longest brush and then the brushes can be set comfortably in the center. To stop the brushes from slipping out, simply place a tissue or paper towel at the ends and secure it with a rubber band."

Thanks Bonnie! To submit your creative solutions to those nagging painting problems, e-mail wcamag@fwmedia.com.

Entering Art Competitions

Jessica — Thu, 18 Jun 2009 15:11:25 GMT

With competition season in full swing, you might be facing a number of tough questions: Which paintings should I enter? How does the jurying process work? In our latest online seminar, Entering Art Competitions: Enhance Your Chance of Success, editors of our sister publications, Anne Hevener (The Pastel Journal) and Maureen Bloomfield (The Artist's Magazine), will tackle these questions and many more. Reserve your spot for the June 23 session now! Just for signing up for the seminar, you'll receive online access to a recording of the live session and a free digital download: "How to Photograph Your Work for Contests and Shows."

Speaking of contests, the deadline for entry in our Watermedia Showcase is August 1.

Choose the Right Surface for Your Watercolor Technique

Kelly — Wed, 17 Jun 2009 19:05:37 GMT

Canadian artist Sandrine Pelissier creates rich mixed-media portraits bursting with life. In the August issue of Watercolor Artist she shares in-depth details about her process. Here's what she had to say about how she chooses which surface to use for a particular subject:

“When choosing a subject, I ask myself what kind of paper and technique would help me best convey the effect I’m looking for,” says Pelissier. “Do I want the subtle, controlled effect afforded by layering on absorbent, Arches 300-lb. cold-pressed watercolor paper, or the brighter colors and texture that painting directly on Yupo paper offers? (Yupo is a non-absorbent, synthetic paper that allows paint to stay on the surface and dry by evaporation, making more or less predictable patterns in the process.) For results that fall somewhere in-between, I opt for watercolor board; and for paintings with a lot of texture, I work on wood panels or canvas.”

For more painting tips from Sandrine Pelissier, check out her feature in the August 2009 issue of Watercolor Artist.

New Watercolor Workshop: Dramatic Light

Mon, 08 Jun 2009 14:14:51 GMT

Check out a free sample of the latest watercolor video from ArtistsNetwork.tv: Dramatic Light With Patrick Howe. Howe starts very simply with just one watercolor and a brush, and then takes you through the different stages, explaining how to turn the white of your paper into sunlight. In his final demo, he’ll show you how to sketch out a dimly lit street scene in oils. Enjoy!

Meet Our Creativity Workshop Winners!

Tue, 12 May 2009 15:54:22 GMT

The competition was thick, but we are now pleased to announce that artist Joyce Heuman Kramer of Cortez, Colorado was selected as the winner of our prize for her painting, Together We Blossom (above). Our runners up for this challenge include Margo Voermans, Mary Johnson, and Grace Rankin, whose paintings and thoughts appear on our site. Congratulations to all of our remarkable Creativity Workshop artists. Keep the paint--and the fun--flowing!

Check out the latest Creativity Workshop Activity from artrist Nicholas Simmons by clicking here.

Swipe File: Tips from Watercolor Artist Readers

Wed, 06 May 2009 12:36:07 GMT

Over the years, we've amassed a vast collection of reader-submitted tricks of the trade, many of which we've published in our popular Swipe File column or on our website. We thought now would be the perfect time to re-introduce this department and invite readers to share their best timesaving, budget-friendly tips and techniques. Here's one of our favorites from Bonnie Rodgers, who saved herself a nice chunk of change with a bit of grit and ingenuity:

Recently, while preparing for a plein air journey, I searched for a journal of the right size for my art travel bag. I wanted one that had 140-lb., cold-pressed paper. Local stores only allowed me a 90-lb. version. So, I looked on the internet and found a journal maker, but she was having trouble finding the right glue to adhere to the heavier paper. I tried to make my own from leather, watercolor paper and binding thread, but due to my limited time and knowledge, I gave up on that idea.

Then I came up with the solution: different-sized photo albumns that I could populate with watercolor paper, cut to the size of the albumns' sleeves or smaller. I found I could also extend the book size by adding larger spine pins to accommodate more sleeves. It worked wonderfully! I could paint on any size (as long as it was smaller than the paper I had brought with me). I could also collect tickets and memorabilia for future use and memory ticklers in the photo sleeves. On days when I needed to reduce the weight I was carrying, I could undo the spine screw pins and take pages out.

The best thing of all was that I saved myself about $125. Journals with enough pages, the proper paper weight, and the right-sized paper for sketching and journaling, with a sturdy binding that would hold up to rigorous use cost about $150 to $200, when available. Photo albums cost $7.50 to $15 and one sheet of 140-lb. watercolor paper costs $7.99. Each sheet of watercolor paper allowed me to cut several pages of 3x5-inch, 4x6-inch, and 6x8-inch journal pages for three different-sized journals. This idea will serve me well for all my plein air journeys.

Thanks Bonnie!

Send a description of your method and a photo or JPEG (with a resolution of 300 dpi) illustrating a tip or technique to wcamag@fwmedia.com for your chance to see your bright ideas in print, on our site or in our e-newsletter. Who knows? Your idea might be just the thing that a fellow artist needs to find his or her way back to the easel.

Take Better Reference Photos

Tue, 28 Apr 2009 16:26:12 GMT

Watercolor artist Henry Dixon helps you start your painting composition out on the right foot by sharing his best advice for taking good reference photos. To download, click here: wc-dixon.pdf Save the PDF to your desktop and reference it whenever you like, print it out or e-mail it to a friend. For more great ideas from Henry Dixon, check out his book Paint Amazing Watercolors from Photographs.