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Although many beginners struggle for years to master the watercolor medium, others are quick to learn how to control the fluid paint and develop a personal style of expression. The [...]

'I walked into our New England barn one November morning and saw my son's bike framed in an open doorway. I realized that he had outgrown both the bike and [...]

The article discusses the similarity of the technique of Chicago, Illinois-based watercolorist Andrea Vincent in the creation of her paintings to the assembly of a jigsaw puzzle. She takes apart the photographic images and reassembles them in her canvas in order to create a more focused and dramatic effect. She makes a recipe of the colors and translates their relationship to her watercolor to take advantage of the focus on the image.

The article discusses how being color-blind helped E. Gordon West tackle relative values considered as one of the most challenging issues in painting. It cites his workshops where he directed his students to identify the values in photographs and create a paint-by-numbers kind of grisaille. It notes that although he is primarily a studio painter, he enjoys working outdoors and went on painting trips with fellow members of the Watercolor Gang. He points that after years of painting watercolors, his concern is more on the process and fun of watercolor.

The article features Thomas W. Schaller, a watercolor painter and author of "The Architecture in Watercolor" and "The Art of Architectural Drawing: Imagination and Techniques." Schaller favors working on Arches or T.H. Saunders watercolor paper using Isabey or Raphael squirrel brushes and kolinsky sables in sizes 6 and 8. The colors on Schaller's palette include cobalt blue, ultramarine blue, cobalt turquoise, burnt sienna, and alizarin crimson.

The article offers step-by-step instructions for using studies in planning watercolor paintings.

The article offers insights from Michigan artist Jim Johnson on watercolor painting outdoors. According to Johnson, watercolor is the perfect medium for exploring nature's beauty. To add texture and an impressionistic look to his artwork, Johnson varies the size and direction of his brushstrokes. He cites the goal of plein air painting. His favorie color choices are alizarin crimson, cadmium yellow light and cobalt blue. Particular focus is given to his three preliminary steps for successful painting en plein air.

The article offers step-by-step instructions for painting rhythmic figures in watercolor.

The article discusses four exercises in exploring watercolor as a medium of painting developed by Stephen Harby of the Yale School of Architecture in New Haven, Connecticut. These exercises include understanding the materials and techniques, monochromatic sepia painting, making a chart of progressive mixtures of colors and mapping a watercolor painting. Also included are ten rules on watercolor painting. Photographs of watercolor paintings are also offered.

The article features artist Michiyo Fukushima and her water color depictions of New York City scenes. It describes how Fukushima became inspired to paint New York's sculptures and fire escapes. Fukushima's water color paintings were rendered from the digital photographs that she took along the streets of New York. Fukushima's techniques from capturing and editing images to transforming them into paintings are discussed. Fukushima reportedly trained with Frederick Brosen at the National Academy of Design in New York City.

This article relates the author's technique for painting outdoors with watercolors. The water in the brushes quickly turns to ice, thereby cementing brush hairs to the plastic palette and the wet paint on the watercolor quickly crystallizers like a sugar glaze. His brother, the science teacher, insisted that the solution should involve hot water because it is readily available and releases heat slowly. He made a Styrofoam box to serve as a warming palette that would the colors he normally have available when painting.

The article explores how Joan Becker keeps herself fresh, challenged and focused as an artist. She constantly changes the subject matter and scale of her gouache paintings so that neither she nor her audience becomes bored by repetition. Becker does a number of things to keep herself fresh, challenged, and focused. For one thing, she is always working on four or five paintings at a time. Another one of Becker's practices is to staple her watercolor paper to a wall in her studio and paint while standing, or while sitting in a chair on wheels.

The article features U.S. painter Lisbeth Firmin. A gouache painting by Firmin won the top prize in a national art competition in 1994. Firmin comments on the significance of the award and of being selected by artist Wayne Thiebaud as the winner of that competition. Firmin discusses the difference of her works with the urban paintings by Edward Hopper. Firmin explains why she kept the paintings small and why she worked with gouache on watercolor paper.

The article profiles watercolorist Frederick Wong from New York City. Wong has been teaching watercolor techniques to artists for more than 30 years and has authored several helpful instructional books throughout his career. He is a signature member of the American Watercolor Society and Allied Artists of America. His work is in both private and public collections throughout the world.

The article focuses on the basics of watercolor painting for beginners taught by artist John Falato at Paier College of Art in Hamden, Connecticut. Falato demonstrated that the ability to use the very basic vocabulary of watercolor is crucial to creating high-quality work. According to Falato, he always spends time showing various drawing and painting techniques and procedures. Falato began the day's lesson by demonstrating how to make a flat, even wash, using a large squirrel flat brush.

The article discusses the success of Alabama artist Clint Herring with watercolors that focus on the architecture and people of the Southern United States and the Bahamas. According to Robert Hicklin of the Gallery at Freshfields, he was attracted to Herring's watercolors because they are exceptionally fine paintings and establish a direct connection to traditions associated with the historic painters whose work they exhibit. The process by which Herring develops his full-sheet watercolor paintings begins with digital photographs of potential subjects.

The article focuses on the unconventional approach used by father and daughter watercolorists David and Jae Drummond to control watercolor washes. Instead of mounting paper in the traditional way, each works with the paper taped to a piece of cardboard, carefully balanced on the lap, even for large paintings. Both feel there are disadvantages to working in the unconventional manner, which is the difficulty of handling very large pieces and any board light enough to hold on their laps will tend to buckle when becoming wet during the painting process.

The article focuses on Oklahoma watercolorist Patrick S. Gordon and the challenges he encountered in his artistic career. Gordon reveals that the two wrapped bouquets represent his two marriages, the glass of water refers to his long interest in watercolor painting, the reproductions of fish indicate various friends and family members, the spilled water suggests the artist's own tears, and the fabric was added in recognition of the dealer who gave it to him. In addition to painting still lifes of flowers, Gordon draws and paints commissioned portraits.

The article discusses the techniques used by Tennessee artist Gordon Wetmore in painting portraits. He states that he spends time getting to know his clients, devotes at least three hours making watercolor sketches of them from life, and shoots several dozen photographs under different lighting conditions. Wetmore keeps all his reference material close to the painting surface while he is developing a portrait so he can see them without having to hold them in his hand or to adjust his vision to view them from a distance.

The article discusses the techniques used by Rhode Island artist Peter Hussey in watercolor painting. The compositions of his pictures are engaging, the paint application is clean and controlled, and the range of his subject matter is personal and inventive. One of the key lessons Hussey received from artists concerned the value of geometric shapes that help in finding unexpected vantage points, leading viewers' attention into and around the pictorial space, and establishing links between areas of the picture.

The article discusses the paintings and drawing style of Mark Karnes. The artist has gotten into the habit of making tiny black-and-white ink or watercolor studies of scenes that pique his interest. He finds ink and black watercolor to be tremendously immediate materials. Karnes paints full-spectrum watercolors, so his ease with the medium is an advantage for him.

The article focuses on the drybrush watercolor-painting technique used by artist Florence Strauss on her floral images. She first makes a detailed graphite drawing of a subject on Arches 400-pound rough watercolor paper. She lays out an extensive palette of colors such as titanium white, cerulean blue and French ultramarine. She builds up layers of dark color in the background areas of the picture using a bristle brush and relatively dry paint.

The article describes the painting technique of Pennsylvania artist Denny Bond using liquid watercolors. Bond developed his skills of building up layers of liquid watercolors when he first established a career creating industrial, advertising and editorial illustrations for various companies and he use the same techniques to create fine-art paintings. He reveals his process by starting with rinsing both sides of a sheet of Arches watercolor paper and stapling it to a gray board.

This article describes a solid watercolor technique that was developed by Gordon A. Phillipson. His art exhibits an open-hearted sense of wonder. Using traditional methods, Phillipson preserves pure whites and bright highlights with frisket and builds layers to achieve his darkest darks at the end of the process. He favors Holbein pigments and primary colors.

The article discusses the application by New Jersey artist Thomas Valenti of the same painting procedures when working with transparent watercolor or with oil. During Valenti's workshops and painting demonstrations, he shows other artists how he evaluates the value pattern by making a preparatory study of a subject in black and white. Valenti graduated from the Newark School of Fine and Industrial Art in New Jersey and has been an active member of several art organizations.

The article presents suggestions for achieving satisfying results in watercolor painting. It is recommended that artists have at least one heaping tablespoon of paint in each well of a palette with a warm and cool version of the primary colors arranged logically in the wells. Artists must use professional-grade paper to get the maximum performance from their brushes and paints. Paint with pigment straight from the tube and mix colors.

This article discusses the styles and methods of California watercolorist Dick Cole in plen air painting. The artist uses good-quality watercolors of various brands and cold-pressed Fabriano or Arches paper for his canvass. He attributes his wide range of subjects and styles to his career as a commercial illustrator.

The article reviews several art exhibitions including "American Watercolors and Pastels, 1875-1950," at the Fogg Art Museum in Cambridge, Massachusetts in June 2006, "An Enduring Gift: The Marguerite and Gerry Lenfest Collection," at the James A. Michener Art Museum in Doylestown, Pennsylvania from June to July 2, 2006, and "Americans in Paris, 1860-1900," at the Museum of Fine Arts in Boston, Massachusetts from June 25 to September 24, 2006.

The article focuses on the use of zinc white gouache with transparent watercolors by artist John Bowen to add texture to his paintings. Most of his paintings are created from photographs taken as he travels through Florida and around the U.S. He initially draws the image of a complicated scene on a sheet of tracing paper and then transfer it onto the watercolor paper. He applies several layers of wash to the paper, especially in the darker areas of the scene, during the course of painting. INSET: Bowen's Four Suggestions for a Successful Watercolor.

The article presents several suggestions from artist Roger Armstrong to creating livelier watercolor painting. Armstrong suggests the following steps to improve on watercolor painting: practice drawing on sketchbook, make thumbnail sketches, start with big shapes and come up with the details later, use simple palette and, strive for good design and balance.

The article presents information on artist Anders Zorn. He is famous for the spontaneous and compelling warmth of his watercolor and oil paintings and loose brushwork. Zorn painted portraits of kings and queens and presidents of several countries. He had a very high standard of excellence and always compared himself to Rembrandt.

The article presents an interview with painting teacher Steven H. Fleming on teaching watercolor painting. According to him, the difference of watercolor painting with other painting media is the performance of the brush. He begins teaching by asking the students to prepare the important aspects of the process. After the preparation, he teaches ways to simplify a painting into a few basic shapes. On the book he is writing, he covers the seven characteristics of color including value, hue, complement, temperature, intensity, saturation and extension. In the preliminary text for a chapter of the book, he offered advice on making a plan before beginning to paint.

Focuses on the application of the watercolor underpainting method in the works of Wisconsin-based pastel artist Colette Odya Smith. Advantages of the method according to Smith; Overview of the painting technique of Smith; Pastels used by Smith.

Focuses on the paintings of watercolorist Joseph Bohler. Type of watercolor paper preferred by Bohler; Overview of the painting technique of Bohler; Factors that influence his works.

Discusses the approach used by artist Sheryl Luxenburg in watercolor painting. Steps used by the artist in determining subjects for her paintings; Watercolor mediums used by Luxenburg in capturing the rough texture of walls, stones, or concrete; Application of Winsor & Newton aquapasto medium to create the sensation of motion.

Presents several tips in creating realistic watercolor paintings. Preliminary sketching of the painting's subject; Steps in the application of color washes; Establishment of the contrast between the values that will a realistic painting a strong three-dimensional look.

Features watercolorist Laurie Humble. Ways of creating the center of interest in a painting; Importance of depth in a painting for Humble; Techniques of Humble in watercolor painting.

Features artist June Young and her works. Details of a step-by-step demonstration of her work using watercolor; Technique used by Young to lighten areas of her painting.

Focuses on the fascination of painter Sheila Stilin with watercolor painting. Career background; Painting techniques; Theme of her paintings; Comparison between Stilin's photographic sources and her finished watercolor painting of the same subject.

Features artist Margaret Dwyer and her watercolor paintings. Discovery of turning point subjects that brought Dwyer's paintings to a higher level of accomplishment; Information on Dwyer's private paintings collection called the Beachside series; Technique used by Dwyer for painting shadows.

Discusses the techniques used by watercolorist Peter Loftus in doing his watercolor paintings. Ways in handling color layering; Description of the British watercolor painting technique; Suggestions in mixing colors; Information on how he sets up the palette of his paintings.

Focuses on the use of craft supplies in watercolor paintings. Use of stamping pads, stencils and decals in adding decorative designs; Features of decorative papers; Developments in punches and scissors.

Profiles Joel Popadics, a watercolor painter from New Jersey. Background of the development of Popadics' interest in painting; Technique used by Popadics in watercolor painting; Opinion of Popadics on paints; Materials used by Popadics in painting.

Focuses on the characteristics of water color portraits. Comments from Jean Daniel of Portraits South agency; Qualities that attracted artist Peter Stimeling to watercolor; Remarks from Stimeling.

Discusses rules for using complementary colors in watercolor painting. Factors to consider when using or applying complementary colors in a painting; Choice of colors; Advice with regard to color temperature; Tips on mixing colors.

Discusses the value of shadows in watercolor painting described by Pennsylvania artist Jane Bertram Miluski as of February 2004. Educational background of Miluski; Colors included in the complete palette of Miluski; Artists' tools used by Miluski.

Discusses the painting possibilities using sepia watercolors by Massachusetts artist Amy Schuyler Clarkson. Qualities of the sepia landscape drawings and paintings; Educational background of Clarkson; Solo shows of the work of Clarkson.

Deals with the art works and friendship between Californian artists Frank Bettendorf and Richard Burns. Genesis of their friendship; Similarities of their art and life; Approach of both artists to watercolor painting; Description of their painting procedure and techniques.

Offers several ideas on watercolor painting. Technique for creating texture in watercolor; Ways to use paste as a complement to watercolor; Description of the gesso technique; Advantages of using granulation medium in watercolor.

Focuses on the technique used by artist Ellen Hopkins Fountain in watercolor painting. Views of Fountain regarding the critical aspects of the watercolor painting process; Theme of paintings by Fountain; Materials used by Fountain in her artworks.