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 Friday, July 31, 2009
Hot Off the Presses: Watercolor Artist, October 2009
Posted by sarah
Our new issue ships to subscribers next week! Here's what to expect:
Features
Get Your Foot in the Gallery Door
Put yourself ahead of the competition with these 16 tips for marketing your work and making the best first impression with gallery directors. Plus, get helpful advice
for pricing your paintings.
Life Is a Dream
By Sarah A. Strickley
Filled edge to edge with tantalizing, precisely rendered objects, Susan Abbott’s imaginative, large-scale watercolors thrill the senses.
A Forbidden Landscape
By Michelle Taute
Tony Armendariz offers a glimpse into Cuba, a country frozen in time. Balancing suggestion and description, he paints the story of the place and its people.
Patina of Life
By Meredith E. Lewis
Douglas Wiltraut’s quiet paintings of rural scenes offer a meditation on the natural rhythms of life and the passing of time.
Watercolor Chronicles
By Donna Zagotta
Today’s struggle can be tomorrow’s creative break-through. Document your artistic journey—your goals, ideas, plans—and put your-self on the path to greater painting success.
Columns
Making a Splash
By Jessica Canterbury
Celebrate the best of Maurice Prendergast’s oeuvre and plan a visit to Charlottesville, Virginia.
Creativity Workshopy
By M.E. “Mike” Bailey
Unlock the secret to creative expression by painting the same subject again and again.
Studio Staples
By Betsy Dillard Stroud
Find out how to get the most from fluid or tube acrylic paints.
Watercolor Essentials
By Soon Y. Warren
Design florals for maximum impact in nine simple steps, plus five advantages to filling the paper with your subject.
From the Magazine
7/31/2009 12:01:35 PM (Eastern Daylight Time, UTC-04:00) 
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Friday, July 24, 2009
Saving Whites Is Kid's Stuff
Posted by Kelly
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.
From the Magazine | Tips and Tools
7/24/2009 3:28:34 PM (Eastern Daylight Time, UTC-04:00)
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Thursday, July 23, 2009
On Creativity
Posted by jessica
Select a realistic subject from a photo or from life. Decide what you want to say and how you’re going to say it. Draw it, plan the composition, select dominant design elements, and work out the color scheme. Then put away your source materials, sketches and plans. Everything. Out of sight. Do the artwork from memory. Your memory and imagination will tell you what to do as you work.This was the first prompt Watercolor Artist published as part of its Creativity Workshop column, launched in the October 2007 issue of the magazine. Who better to look to for an artsy kick-start than artist/workshop instructor Nita Leland, the author of several popular creativity and art instruction books? Click here to revisit a gallery of reader responses to that issue’s column and revive your own creative spirit. If you’re looking for more to fan your creative flame, Leland will be presenting an online seminar on this very subject Tuesday, July 28. Click here for details on attending.
From the Magazine | Online Seminars
7/23/2009 3:34:33 PM (Eastern Daylight Time, UTC-04:00)
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Friday, July 10, 2009
Creativity Workshop Winners!
Posted by sarah
From the Magazine | Tips and Tools
7/10/2009 12:06:38 PM (Eastern Daylight Time, UTC-04:00)
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Thursday, July 09, 2009
The One Compositional Rule Every Painter Must Know
Posted by Kelly
Good
composition is the most important (and most complex) aspect of
painting, but it doesn’t need to be difficult to achieve. Whether you
paint still lifes, landscapes, figures and portraits, or anything else, Greg Albert can teach you how to design an eye-catching painting
everytime in our latest online seminar, The Simple Secret to Better Painting: The One Compositional Rule Every Painter Must Know. Topics include:
* Varying the intervals between the elements of a picture.
* Creating interesting shapes and croppings.
* Achieving dynamic balance to maximize interest.
* Including “eye magnets” and “mind magnets” in a painting.
* Creating an entertaining path for the eye.
* Applying the “most, some and a bit” rule to color and value. Reserve your spot for the July 14 session
now! Everyone who signs up for this class will receive, in addition to online access to the recording of the session, a special discount off the purchase of Greg Albert’s Simple Secret to Better Painting.
Online Seminars
7/9/2009 2:47:28 PM (Eastern Daylight Time, UTC-04:00)
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Wednesday, July 08, 2009
Turn Any Space Into a Studio
Posted by Kelly
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.
From the Magazine | Tips and Tools
7/8/2009 2:36:13 PM (Eastern Daylight Time, UTC-04:00)
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Wednesday, July 01, 2009
Swipe File: Reader Tip for Transporting Paintings
Posted by sarah
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.
Tips and Tools
7/1/2009 8:33:54 AM (Eastern Daylight Time, UTC-04:00)
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