MorePraiseforPaintingtheImpressionisticLandscape:

“…informative,humorous,andlively.[DustanKnight]understandsthecreativeprocessandhasawayofencouragingfolkstodeveloptheirownstyleofpainting.Iappreciatehowsheinspiresherstudentstogetexcitedaboutcreating.”—KathyTangney,professionalartist,TongRenMaster

“DustanKnightusesherpoeticlanguageandpaintingexpertiseinguidingreaderstotakeafreshlookatnatureandcreateoriginal,impressionisticwatercolorsandacrylics.Thisisfarmorethanahow-tobook,butawindowintothecreativemind,exploringnewwaysofworkingandseeing.”—DebbieHagan,artswriterandcriticandformereditor-in-chief,ArtNewEngland

DustanKnight“isapainterwhocombinesartisticskill,knowledge,andenthusiasmwithaflairforexplainingthecreativeprocessinaneasyandinspiringway.[She]paintsfromtheheart,andthisbookwillencourageeveryartist,fromnovicetoexperienced.”—JoniTaube,artconsultantandowner,Art3Gallery,Manchester,NewHampshire

PAINTINGtheIMPRESSIONISTIC

LANDSCAPEExploringLight&ColorinWatercolor&Acrylic

DustanKnight

Contents

INTRODUCTIONApproachesandImpressionsToolsandMaterials

PAINTINGTHEWOODSDemonstration:Watercolor

»TheApproach»IntheStudio

SpecialWatercolorTechnique:LiftingwithaThirstyBrush»HowtoCreatetheLookofMist»Gallery

Demonstration:Acrylic»IntheStudio

PAINTINGFLOWERSFROMTHEGARDENDemonstration:Watercolor

»TheApproach»IntheStudio

SpecialWatercolorTechnique:PlasticWrap»CreatingTexture»Gallery

Demonstration:Acrylic»IntheStudio»Gallery

PAINTINGTHEROCKSANDSEADemonstration:Watercolor

»TheApproach»IntheStudio

SpecialWatercolorTechnique:WaxResistandScrapingforTexture»CapturingaMoment»Gallery

Demonstration:Acrylic»IntheStudio»Gallery

ConclusionResourcesAcknowledgmentsAbouttheArtistandPhotographerIndex

TangoTulips.Acrylic.40"×30"(101.5×76cm).

Introduction

Oneofthebestthingsaboutbeinganartistishavinganexcusetoactuallystopandlookaround.Seeingisarareandluxuriousactivitythesedays.Mypaintingsinwatercolor

andacrylicareinspiredbythethingsIseeandmyimpressionsofthem.WhenIpaintI’mnotattemptingtoreplicatewhat’sinfrontofme.I’msearchingforsubjectsthatIwanttolookatandexperiencedeeply,foralong,focusedtime.Ienjoytheprocessoftranslatingthemintomyownvisionoftheworld.ItrytoavoidtheclichédscenebutIdon’twanttodeprivemyselfofpossibilitieseither,soItrytolookdeeperthantheobvious.Itrytoexperienceasubjectascloselyandasintimatelyaspossible.

Sometimesit’stheatmosphericeffectsofmistthroughthetreesthatintriguesmeasmuchasthetreesthemselves.Sometimesit’stheriotofcontrastingcolorinthegardenmorethantheactualbloomsthatIlove.Sometimesit’sthesoundofawaveboomingunderaseaweedcoveredledgethatmakesmewanttocapturemyimpressionoftheseaonpaper.Myheightenedexperienceofthewoods,thegarden,andthecrashingwavesinvolvesallmysenses:seeing,hearing,feeling,andevensmelling.That’swhatIaminterestedincapturinginmywork.

IliketothinkmywayofworkingisacontinuationofthewaytheImpressionistsapproachedpainting.Ihavealwaysfelttheirinfluence,bothforthebeautyoftheirworkandfortheirphilosophy.OriginallytheImpressionistsinsistedtheirartworkwasbasedsolelyonananalyticreactiontoascene.Butultimatelyitbecameclearthattheirimpressionswerevastlyinformedbytheirfeelings,expectations,anddesires—infact,veryromantic.IlikethatandIlikebeingpartofthecontinuumofpaintingimpressionisticlandscapes.

InthisbookIampleasedtowalkyouthroughmycreativesteps.Ihavechosenthreelandscapethemes—woods,gardenflowers,andwater—inspiredbythenaturalfeaturesofthegraniteNewHampshireislandwhereIlive.Iwillshowyouseveralapproachesandvariouswaystothinkaboutthem.Eachthemeisconsideredseparatelywithimagesandstep-by-stepdemonstrations.Thedemonstrationsdetailtheprogressfromconcepttofinishedpainting.IhopetosharemywayofseeingaswellasthethoughtprocessandcontinualproblemsolvingthatdevelopsasIpaint.

Rebecca’sFlower.Watercolor.36"×36"(91.5×91.5cm).

ApproachesandImpressions

PoplarsontheEpte,c.1891.Oiloncanvas.ClaudeMonet,French,1840–1926.ScottishNationalGallery,Edinburgh.BridgemanImages.

L’AlléedesAlyscamps,1888.Oiloncanvas.VincentvanGogh,Dutch,1853–1890.PrivateCollection.BridgemanImages.

It’shardformetoimagineanyonehavingfunpaintingbeforeMonetandRenoir.Beforetheytossedasandwichintoaknapsack,packedtheirtubesofpaint,andheadedoutdoorstolookforsomethingtopaint,artwasstifling,jammedwithparametersforcorrectnessandtiresomeallegoriesforsubjects.

ThankgoodnesstheImpressionistsshuckedtheRoyalAcademyofArtanddependedontheirowneyestoseeandtheirowninnervisiontoexpresswhattheysaw.That’swhatIrespondtointheirlandscapesandthisisabookabout

theysaw.That’swhatIrespondtointheirlandscapesandthisisabookaboutwhatI’velearnedfromthatrelationship—myownimpressionisticapproachtoteachingandpaintinglandscapesinwatercolorandacrylic.

TheRedCanoe,1884.Watercoloronpaper.WinslowHomer,American,1836–1910.PrivateCollection.BridgemanImages.

Oneofthehighlightsofteaching,forme,wastotakemystudentsonafieldtriptotheworks-on-paperarchivesattheMuseumofFineArtsinBoston.Thecuratorwouldarrangewatercolorsonloweaselsfortheclasstodiscuss.BeingabletoseehowSargentscrapedwhiteintoashadowwithapenknifeorwhereHomerdraggedawaxcandleacrosshispaperasaresistmademefeelasthoughIwassittingonthegrassbesidethem,watchingthempaint.

SargentandHomerpaintedinabroad,loosestylewithbouncingcolorandvisiblebrushworkcapturingthefeelingoflight.Theypickedupthecolorinoneareaanduseditinanotherasadetail.Theyseemedtoworkfrombiggertosmaller,loosertomoredetailed,lighttodark,andsometimesbacktolightagain.ChildeHassampaintedabout10miles(16km)offtheshorefrommyownstudioinNewHampshire,andIcantellbylookingathispaintingsthattheairis

similarandthebreezesmellsthesame.Theconnectionisstillthere.Theconversationcontinues.

DuckIsland,IslesofShoals,1906.Watercoloronpaper.ChildeHassam,American,1859–1935.PrivateCollection.DavidFindlayJr.FineArt,NYC.BridgemanImages.

ToolsandMaterials

Creativemomentsinthestudio

Paper,canvas,paint,brushes:yourartmaterialsaretrulyamatterofyourpersonalchoice.Choosewiselybecausestockingyourstudiooroutdoorpaintingkitcangetexpensive.I’veoutlinedmypersonalchoiceshere,aswellasafewsuggestionsforsavingmoney.

WatercolorPaper

Watercolorpapercomesinvariousthicknessesorpounds—thehigherthenumber,orpoundage,thethickerandmoresubstantialthepaper.Irecommendusingatleasta140lb(300g/m2)paper,whichwillholduptobeingsoakedwithwater,scratched,andreworked.Attheupperrange,300lb(640g/m2)paperisexpensiveandsoheavyit’salmostrigid.Attheotherend,90lb(185g/m2)paperbucklesassoonasyoudropwateronit,makingpaintingwithitfrustrating.Isuggeststayingawayfromit.

Youcanbuywatercolorpaperinlargesheets,rolls,andblocks.Blocksarepadsthataregluedaroundtheedgesandareparticularlyusefulforoutdoorpainting.Thegluededgesholdthepapertautwhenit’swet,sothatitdriesflat.Onceyourpaintingisdry,youuseaboxcutterorcraftknifetocutaroundthe

Onceyourpaintingisdry,youuseaboxcutterorcraftknifetocutaroundthegluededgetoremovethesheetfromtheblock.

MyfirstchoiceforwatercolorpaperisArchesbrightwhite,in140lb(300g/m2)weightorheavier.Thereareseveralsizesofblocks.You’llwanttotakeatleasttwowithyouwhenyouworkoutdoorssothatyoucanshiftfromonetotheotherwhileallowingyourpaintingstodry.

Youcaneasilyfoldandtearlarge,individualsheetsofwatercolorpapertoyourdesireddimensions.Goodqualitypapertearsbeautifullyandleavesalovelyedge.Usemaskingtapetoattachtheedgesofaloosesheetofpapertoasturdysupportboardbeforeyoustartpaintingorapplyingwater.Leavethetapeinplaceuntilthepaperdriestopreventitfrombuckling.

Therearethreepaper-surfacetypes:Hotpresshasasmoothsurface.Coldpresshasamedium-texturedsurface.Roughhasahighly-textured,bumpysurface.Thesurfaceisimportantbecauseitdeterminesthelookofyourwatercolorwashes.Onsmoothpaper,thewaterandcolorflowfreely,allowinglotsofunexpectedthingstohappen.Aroughsurfacecatchescolorandwaterunevenly,oftencreatingadry-brusheffect.Coldpressisagoodpaperforbeginners.Asyoubecomemoreadvanced,hot-presspapersandthenewersyntheticpapersarealotoffuntotry.

CanvasforAcrylic

Ifyou’rejuststartinginacrylic,Isuggestpurchasingpre-stretched,preparedcanvasinthesizethatworksbestforyou.Youmightalsotryhardwoodorparticle-boardpanelslikethosemadebyAmpersand.Idon’trecommendcanvascoveredcardboardbecauseitwarpseasily.

Furtheralong,you’llhavetimetolearnaboutstretchingcanvasandpreparingthesurfacewithgesso.Buteveninchoosingpre-stretchedcanvas,you’llwanttobeawareofthesurfacequality.Cottonduckcanvashasaroughsurface.Moreexpensivelinencanvashasasmoothersurfacethatislovely;paintingonitislikeworkingonpaper.Butforthemoney,especiallyforlargercanvases,cottonduckisjustfine.

Iliketobuycanvaseswithstretchersthatareatleast2"(5cm)deep.Theystandoutonthewallwhenhung,andifIpainttheedges,Idon’tneedtoframethepainting.

Brushes

Therearethreebasicstylesofbrushes:flats,rounds,andwashbrushes.Flatscarrythemostpigment.Theyarebestforfillinglargerareas,thoughweusuallyletthewaterdotheworkinwatercolorpaintings.

Roundsarethebestfordrawingstrokes.Thereareallsortsoftiptypes:long,thinriggers;big,chubbyGoliaths;filberts;andfans.Forwatercolor,aslightlychubbyroundholdswaterwell,andafinetipallowsyoutocontrolwhereyoumakecontactwiththepaper.

Watercoloristsuseawide-washbrushtogetalotofwateronthepaperquickly.Thiscanbeimportantbecauseassoonasthepaperbeginstodry,thesurfacecangetstreaky:Aflat-washbrushallowsthewaterandpigmenttoblendacrosslargeareas.

Foracrylic,syntheticsablesarethebestforshovelinguppaintandputtingitoncanvaswhereyouwantit.Acrylicpaintersoftenusefine-tippedwatercolorbrushesfordetailedwork.

Ultimately,forwatercolorandacrylic,you’llwantroundsandflatsinvarioussizes.Thosewhoworkwithacrylicswillalsobenefitfromhavingwider,flatbrushestotransferlargerandthinneramountsofpainttothecanvas.Thesizeofbrushyouusewilldependonthesizeofyourpaperorcanvas.Thesmallerandmoredetailedthepainting,thesmallerthebrush.Yourchoiceofbrushsizewillalsodependonyourpreferenceforthesizeofyourbrushmarksinapainting.Iusuallyworkwithlargerbrushessothebrushstrokesarelooser.

usuallyworkwithlargerbrushessothebrushstrokesarelooser.Becauseacrylicpainthassomehefttoit,yourbrushesneedtobealittle

stifferthanwatercolorbrushes,thoughnotasstiffasoilbrushes.Avoidpigbristle.Infact,foranyonestartingoutinwatercolororacrylic,Iwouldrecommendbuyingoneofthewonderfulsetswithsyntheticbrushesinvarioussizes.Theseareavailableinanaffordablerangeandwillgetyouusedtoworkingwithroundandflatbrushes.

Ofcourse,ifyouaregameforit,therearemanyfancy,nichebrushestotry,butremember,abrushisonlyasgoodasitshandler.ThebestandthemostexpensivewatercolorbrushesaretheKolinskysables.Ihaveafewofthese,butbecauseIworkspontaneouslyandoftenwithvariousmediumsatthesametime,Ipreferworkingwithmedium-pricedbrushesthatIcanberougherwith.Whateverthequalityofyourbrushes,takegoodcareofthem.Neverleavethemstandinginwater,andalwayscleanthembeforeputtingthemaway.

Awell-loved½"(1cm)flatbrush.

Paint

Thecostofpaintisdirectlyrelatedtothequalityofthecolor.Paintismadeupofcolor(pigment),medium(watersolubleforwatercolor,latexforacrylic),andsmallamountsofdriers.

Bargainpaintshaveweakercolors.Professionalgradeshavebrighter,more

Bargainpaintshaveweakercolors.Professionalgradeshavebrighter,moreintensecolorscreatedbyusingmorepurepigmentandlessmedium.Iusuallysuggestthatmystudentsbuyfewercolorsofbettergradepaintratherthanlotsofcheapertubes.Watercolorpaints,ingeneral,costmorethanacrylicsbecausetheyusemorepigmentandlessmedium.

Someofthebestpaintbrandshavestudent-gradelines,suchasCotmanWatercolorsbyWinsor&Newton.Iencourageyoutovisitthebigonlineartsupplystoreswhenyouareshoppingforpaint.Thesesourcescanreallyhelpyoutokeepyourcostsdown.(Seeresources.)

Ilovetryingnewbrandsandcolorsofwatercolorpaintaslongastheyareprofessionalgrade.MyregularsincludeSennelier,Winsor&Newton,Graham,DanielSmith,Holbein,Maimeri,Turner,andCheapJoe’sAmericanJourney.

ChoosingColors

Startwiththethreeprimaries:red,yellow,andblue.Thengraduallyaddtothesebysamplingsomeofthevariations.Cadmiumredisawarm,yellowishred.Scarletoralizarincrimsonisabluer,bloodred.Cadmiumyellowlightislike

Scarletoralizarincrimsonisabluer,bloodred.Cadmiumyellowlightislikesunlightinatube.Lemonyellowisamoretransparent,greeneryellow.Ultramarinebluehasatouchofpurple.Ceruleanblueisconsideredawarmerblue.Cobaltblueisabeautifulchinablue.

Forwatercolor,Idonotrecommendusingblackorwhite.Theycanbeverysneaky,turningyourbeautifulcolorsopaqueandgray.

Foracrylics,IstickwithGoldenandLiquitexpaints.Theirdensitiesrangefromheavybody(likepaste)andmorefluid(likecream)thatarefuntotry.Bothbrandsalsohaveawiderangeofadditivemediums.

PAINTINGTHEWOODS

IFINISHMOSTOFMYPAINTINGSINTHESTUDIO,butIstartthemoutdoors.Thisisapersonalchoicethatworkswellforme.Iamnotarendererofwhat’sinfrontofme.Idon’tfeeltheneedtomatchcolorsorchasechangingshadows.IliketogetadeepimpressionofasubjectorsceneandthenturnawayfromitsoIcandoanewversionbasedonmymemoryandwhatIfelt,asmuchaswhatIsaw.

Ienjoythephysicaldistancecreatedbyreturningtothestudiotodeveloptheimage.It’saprocess,oftenleadingtoafinishedwatercoloronpaperandthentoanacryliconcanvaswithmanysketchesinbetween.ByfreeingmyselffromtheactuallocationandgoingtomystudioIcanworkontheaspectsofthesceneIreallylike,suchasthesoftnessoflightfallingthroughthetrees,orthetransparentdelicacyofaflowerpetal.Assoftasanimpressionisticpaintingmayappear,there’sstructurebehindit,andstepstogettingthere.

Thewoodsareamongmyfavoritesubjects.Ispendalotoftimewanderingthroughthemlookingatthings.Iparticularlyenjoyearlymornings.Lightseemstohavemorepersonalityinthemorningthanatanyothertimeofday.Thepresenceoflightslantingthroughthetreescanbealmostmysticalinthewayitunitesephemeralandsolidnature.

Morningsarewonderfulopportunitiestonoticehowlightstreaksacrossaflatstone,intensifyingthebluelichenandbedazzlingraindropsontheedgeofaleaf.Whenyoubeginseeinglightandnoticingtheeffectithasoneverything,thenyourwayisopentonoticingwhatusuallygoesunnoticed.

IworkinNewCastle,anislandontheNewHampshirecoast.Mostofthetreesherearepines:straight,smooth-skinnedwhitepineandcrooked,scaly-barkedpitchpine,withanoccasionalfirorhemlock,andremnantsoftheoriginalhardwoodforestsofoakandmaple.

WoodlandRoad.Acrylic.36"×36"(91.5×91.5cm).Thewoodyhillsiderisingupandthelightinthecenterofferasoftpassagethroughthepainting.Noticetheoverglazingofthinnedwhitepaint.

OceanFogAlongtheRoad.Acryliconcanvas.10"×14"(25.5×35.5cm).Thiswasafastpainting,playingwiththedramacreatedbythefogthroughthetrees.

IthinkwhatcontinuestoattractmetothewoodsisthatIcanmovethroughthetreeswiththeisland’spromiseofseaandskyjustbeyondthem.Ilovethefeelingofthearchitecturalshapesarchinguparoundmelikeacathedral.Coloredlightfiltersthroughthefoliagelikelightthroughachurchwindow.Breezesshaketheleaves,makingthelightflitabout.

Morningsinvitemetostepoutandopenmyselftoexperiencethemagicofafreshday.Maybethegroundiscoveredbyfogthat,havingthickenedinthecoolshadowsofnight,isquicklydisappearinginthemorninglight.Ormaybethefogisfromtheocean,sockedinandsettlingdownlikeagrayblanket.Sometimesthereissnow,sometimesdriftingautumnleaves.Thewoodsmaybefamiliarbutthey’reneverthesame.

WhenIsetouttolookaround,thinkingaboutmynextpainting,Itakealotofphonesnaps.Hereisthething,onceI’vetakenthepictures,Idon’trelyonthem

verymuch.Ikeepthemasremindersofwhatattractedme:howmagicalthelightlookedonalichen-coveredbranchorhowitoutlinedthetextureofmossagainstgranite.Idon’tpaintfromthem.Paintingfromaphotolackstheexcitementofseeing.Thesnapshotismyreminderofthescene,butit’snotthescene.WhenIpaint,IwanttocreatefromtheexperienceofwhatexcitedmeaboutwhatIsawinnature,andtheimpressionofwhatIseeinmymind.

BerryBrook.Watercolor.20"×16"(51cm×40.5cm).Greenlightfilteringthroughthetreescolorsthemossyrocksandthewaterinthebrook.

Demonstration:PaintingtheWoodsinWatercolor

TheApproach

Choosingaplaceyou’redeeplyfamiliarwithasasubjectcanmakepaintingbotheasierandmorecomplicated.Thephysicalrealityoftheplaceisapttobelayeredinmemoriesofthingsyou’veexperienced,goodandbad.Thechallengeistotrytoseeyourfamiliarsurroundingsasifyou’veneverbeentherebefore.

There’sanarrowdirtroadthatcutsacrossthecenterofthisisland.WhenIwasyoung,itwasanovergrownfootpathwheretheboyswoulddareeachothertobikeatnightandteenagerswouldgotodoteenagerthings.Nowtheroadhasbeenleveledandwidenedandtherearemorehousesonit.Butit’sstilladirtroadanditstillhasapicturesquemystery.ThissummerI’vebeenwalkingmydogthereintheearlymorning.Somethingkeepsdrawingmeback,soIdecideit’sagoodsubjectforawatercolordemonstration.

PHOTOGRAPHY

Step1.Ibegin,asIdoeverypainting,withphonesnaps.EverytimeIclicktheshutterI’mmakingadecisionaboutwhatIsee.WhenIrealizeI’vetakentenphotosofsunlightfallinginpatternsacrosstheroadandthesilhouetteofanoldpitchpinetree,Iknowthereissomethinggoingonthereforme.Thelightisinviting.Perhapsthere’sastoryunfolding,withthedirtroaddisappearingintothedarknessofthewoods.Wherewillittakeme?

Findinginspiration

PENCILSKETCHTHEEXPERIENCE

Step2.ThenextdayIbikebackatthesameearlyhour.Here’smyfirsttest.Doesthespotstillcapturemyinterest?IsthemagicIfeltyesterdaystillthere?Ifit’sgone,Ilookforotherlocations.

Toreallyengagewithapainting,IhavetoknowI’vemadetherightchoiceandputanyotherchoicesoutofmymind.ThishelpsmekeepaclearimpressionofwhatIwanttodoinmymind.

Thisstepisnotjustaboutsketching;it’sabouttakingnotesofwhatdrewmetothespot.Ialwaysbringalongasmallspiral-boundsketchbook,pencils,andaneraser,sothatIcanjotdownnotes—andnotjustaboutwhatIsee.IwritedownwhateverInotice:whatattractsorrepelsme,whatthesceneremindsmeof,whatIsmell,whatIhear,whatthesunfeelslikeonmyneck,whetherI’mhungry,whetherIcansmellthetrees.ItrytowritedownenoughdetailssothatIcanre-createthoseimpressionsinmymindwhenIgetbacktothestudio.

IalsomakequickpencilsketchesoftheviewsIlikedwhenIwasphotographing,andwhenIdo,Inoticemoredetails.Drawingdemandsmoreattention.EvenwithquicksketchesInoticethewaytheshadowslengthenandpoolacrosstheroad,thewaythatcolorslurkandchangeinthefoliage.WhenIsketchI’mnottryingtoreplicatethescene,I’mtryingtocapturemyexperienceoftheroad.Inmanywaystheseearlystagesof“seeing”mypaintingbeforeit’sbegunaremyfavoritemomentsofbeinganartist.

begunaremyfavoritemomentsofbeinganartist.

Backonmybike

Sketchingmyimpressions

WATERCOLORSKETCHES

Step3.NextIbringoutmytinyoutdoorpaintingkit—thisistheminimumIneedtosketchanon-sitewatercolor.Icancarryeverythinginasmallcarpetbagonmybike.Ihaveapencil,aflatplasticlidwithsomedabsofdriedpaintonit—red,yellow,andblue—a¼"(6mm)flat,syntheticsablebrush,aspraybottle

filledwithwater,andastackof6"×6"(15×15cm)watercolorscrappaper,orawatercolorblock.

There’safreedominworkingwithsuchanabbreviatedpalette.AsIbeginmysketches,I’mnottryingtomatchcolorswithnature;instead,I’mapproximatingcolorfamiliesandvalues.AsIlookatthesceneinfrontofme,I’mthinkingaboutthemainshapes,butalsothetransitionsattheiredges:whatmakesthemstandoutorblurtogether.

BalancingmyoutdoorwatercolorkitinonehandwhileIsketch

Step4.Myquickwatercolorsketchesoftheviewrecordonlymyimpressions—nodetails.ItrydifferentcombinationsofcolortofindoutwhichcapturethelightandshadowsthewayIwanttorememberthemwhenIgobacktothestudio.Imayusegreensandgoldsortryforaquietermoodwithcoolpurples.Asthesuncomesout,Iusestrong,bright,excitingcolors.Allthreesketches

expressdifferentimpressionsofthesamelocationatdifferentmoments.Thoughthecolorsdifferinthesketches,similaritiesbegintoappear:theweightofthetreesframingtheroad,thewaytheshadowsfallatanangle.Withoutreallythinkingaboutit,thepaintingIwanttodoisevolvinginmymind.I’mreadytotakethesketchestomystudioandgettowork.

ABOVEANDBELOWWoodsanddirtroadcolorsketches

IntheStudio:Research,Dialogue,andVisualizing

Inmystudio,myrelationshipwiththeon-siteexperiencechanges.Firstofall,there’sashiftfromrespondingdirectlytothesituationinfrontofmetoworkinginamoredeliberate,thoughtfulfashion.ButanotherimportantchangeisthatthisiswhereIbecomemorecriticalofmywork.

Sketchingonsite,Iworkquicklyanddon’tstoptoevaluatethequalityofmywork:I’monlytryingtocapturemyimpressionofthesceneonpaper.Inthestudio,Islowdownandmakecriticaldecisions.It’sanecessarytransition—thetrickispreventingthedeliberatenessofthinkingfromsuffocatingtheimmediacy

trickispreventingthedeliberatenessofthinkingfromsuffocatingtheimmediacyofthefreshimpression.

IputonaSarahVaughanCDandsitdowntolookthroughmysketchesandphotographsandrereadmysketchbooknotes.Ipulloutsomeartbooksbyartistswho’veexploredthesameideasIaminterestedinandflipthroughimagesthatseemtohavesomerelevancetowhatI’mbeginningtodevelopinmymind.Forinstance,ImightfindWolfKahn’slandscapesandMonet’sgardenpondimagesimportantinthatmoment.I’mnotthinkingaboutcopyingwhattheydo,orexpectingtheirapproachtoprovidesolutionsforme,notatall.Forme,lookingatotherartists’workwhenI’mgettingreadytopaintislikeaconversation.Itdoesn’tmatterhowmanycenturieshavegonebysincetheywereworking.There’sstillagiveandtakeandanexchangeofideaswhenIlookattheirworkandthinkaboutmine.Itcanbeveryenergizing.

Ilookthroughmyon-sitesketchesagainandbegintodesignthewatercolorinmymind.Ilikethewaythetreesintheforegroundofmysketchesframetheroadasitwindsaway.Ilikethewaytheroadcurvesinvitinglyanddisappearsmysteriously.

Lillyhelpsmelookatsketches.

Iwantthedesigntobesimple,clear,andstrong.It’sthechoicesImakeaboutcolor,value,andcontraststhatwillmakethepaintingspecial.TheImpressionistsoftenpaintedthemostunassumingsubjects—afield,anorchard,thewoods—buttheircompositionsarenotaccidental.

Ibeginafreshseriesofsketchestoworkoutmyplanformypainting:design,value,andcolor.

Iwanttobegineasily,withoutconcernaboutprocess,ormaterials,orfinishingagreatworkofart.SometimesIamunstoppable,butusuallyIwaverbetweencautionandlaziness,exuberanceandfuzziness.SoIstartsmall.

TapeagridofsmallishsquaresorrectanglesonalargesheetofArches140lb(300g/m2)brightwhitehotpresspaperusingartisttape,whichisavailableinartsupplyshops.Idothisbecauseitletsmetrymyideasinsequence.Iliketoseethesequenceofthestagesalltogetherandthesimilarityofsizeandformat.It’sakindofstoryboardofthepaintingtobe.ThetapevisuallyseparatesthepanelsclearlyandcreatescleanedgeswhenItakeitoffattheend.

Dividingalargesheetofpaperintosmallframes

Step1.Design.Ibeginwithadesignsketchinpencilonpaper.ThisiswhereIworkouttheverticalandhorizontalproportions.I’lltryseveraldesignsusing

lightpencilmarks,simplifyingtheshapesuntilIfindthemostbalanced,attractivecomposition.

STEP1.ThefirststeptowardthestudiowatercoloriscreatingadesignIlikeinpencil.

Step2.Value.Thevaluesketchcanbeinpenciltoshadeinthedesignsketch,establishinglightsanddarks.Valuesarethesequentialrangefromwhitetoblackthatyouseeinablackandwhitephotograph.Ioftendarkentheshapesalongtheedgeofapaintinganduselightervaluesinthecenter.Thisestablishesacenterofinterestandpullstheviewerintoalight-filledplace.

InmysecondsketchIchooseasinglecolor,purple,toworkoutwherethe

InmysecondsketchIchooseasinglecolor,purple,toworkoutwherethedarkestandlightestareasofthepaintingwillbe.ThenIbegintobuildandfitinthemiddlevalues.

Oneuniversaltruthaboutlookingatpaintings—allpaintings—isthatyoureyeisattractedfirsttotheareasofhighestcontrast.It’slikethestartofastory.Thinkaboutthatwhenyoustartapainting—wheredoyouwanttheviewer’seyetofocusfirst?Idecidetofocusthehighcontrastinmypaintingatcenterfront,wherethedarkshadowsofthetreescrossthepaledirtroadandleadyouin.

STEP2.Choosingthevalues—thedarksandlights—isaninformativestep.Inthispainting,Iwanttocreatetheperceptionofdepth.Ifthebackgroundisdark,theroadwilllooklikeatunnelintothedarkness.Iftheforegroundisdark,thebackgroundwillbecomemoreatmospheric.

Step3.Color.NowthatIhaveagooddesignandfeelforthevalues,Iworkoutmycolorscheme.InspiredbytheMonetpaintingsI’vebeenlookingat,Idecidetousepredominatelyblues,purples,andred.IwantthepaintingtofeellikeNewEngland—acool,shadywoodswithawarm,sunnyroad.Mydominantwoodsy

colorwillbeacombinationofFrenchultramarineblueandpink-redquinacridonered.Fortheroadthroughthecenter,Iwilladdyellow,warmgreen,andturquoise.

Inmanyways,themostdifficultpartofcreatingthepainting—makingallthedecisionsinthestudio—isnowdone.NowIcanmoveaheadwithmywatercolorpainting.

STEP3.Choosingacolorschemeispersonal.Formeithelpsexpressmyfeelingsaboutthescenesuchasthejostlingwarmsandcoolsofthislocation.

jostlingwarmsandcoolsofthislocation.

CHOOSINGCOLORSAnoteaboutchoosingcolors–foranypaintingthatyoudo.Yourapproachtocolorisalifelongpursuit.Formewhatworksbestistochooseadominantcolor.Ithinkofitasthegrandmothercolor.ThenIsupportitbysurroundingitwithanalogouscolors,likeafamilyatadiningtable.MychoiceofadominantcolordependsontheimpressionIwanttoexpress.Werethewoodsmoist?Didthegardenglowinthesunlight?Wasthewatericycold?

Step4.Itapetheedgesofalargepieceofwatercolorpapertoaboardanddividethepaperintosmallersquaresandrectangleswithtape.Workingonseveralsmallpaintingsatonceallowsmetotryoutvariationsonmybasicidea.Withlightpencilmarks,Isketchthedesign.

Usinga2"(5cm)flatbrush,Ipaintthefirstwashoflightlytintedcolortoestablishthesizeandplacementofthemajorshapes.Myearliervaluesketchtellsmewherethewhitestareaswillbe.

Whenthefirstwashhasdried,Igobackinandpaintthetree.Leavingtheroadasbare,whitepaper,Istrokerichcobaltbluesintotherightforegroundtreetrunkwitha#10roundbrush.Thistreeisanimportantpartofthedesignbecauseitplacestheviewerjustoutsidethescenebyitspositionbetweenusandtheroad.Italsogivestheroadabitofmystery.

STEP4.Idoawateryfirstwashofthepaintingwithabigwashbrush,ghostinginthemainshapes.Iliketheideaoflightpinksshiningamongthedarkertrees.

Step5.Iusemybigwashbrushtopaintthetreeshadowsacrosstheroad.Theangledshadowswereimportanttomeduringtheearlystagesofsketching.Theyhavebecomeacriticalpartofthepainting,offeringadiagonalshapethroughthecenter,withflickeringlightsanddarkstoattracttheeye.

STEP5.Ibuilduplayersofcolor,allowingeachtodrybeforeapplyingthenext.AsIaddcoloranddetail,Iworkusinglargertosmallerbrushesandpaintinglargertosmallerareas.

Step6.Ilayinwashesoftransparentcolorstocreatedark,richtones.Placingpurecolorsbesideandontopofoneanothermakesthetreeslookdenserandthedirtroadmoreinteresting.Iuseathirstybrushtechnique(seeheretohere)toliftdampcoloroutfrombetweenthetrees,andIsmudgethesurfacetolooklikemist.

STEP6.Iaddlayersofcolortobuildupdark,richtones.Iusethethirstybrushtechniquetoliftcolorout.

Step7.NowIexplorevariationsonmyideabyaddingvioletsandsaturatedpurplestoonepainting,creatingaglowing,bounced-lighteffectthataddsvibrancytothewoods.Toanother,Ipurposefullyleavethecentermistyandmysterious.Finally,Iaddarangeofcoolbluesandsweeppalegreensacrossthedirtroad.Theshadowsappearcool,wet,andheavy,andthelightglowsclearandfragileacrossthepainting’scenter.

STEP7.Oneversionwithglowing,brightcolors.

STEP7.Anotherversionstayssoftandloosethroughthecenter.

Step8.AfterdecidingwhichofthevariationsIlikebest,Icaneithercompletemycolorworkbyaddingthefinalcontrastsanddetails,orputitasideandstartfresh,knowingexactlywhereI’mgoingasIbeginalargerexhibitionpainting.(Ultimately,Idecidetofinishupthecoolerpurpleversionbyaddingsmall,darkbranchesandsmudgingandsofteningtheareasoflightontheroad.)

Theseimportantconsiderationsrequiremetostepoutsidethecreativeinteriorofmythoughtsandplanthispainting’sfuturehome.DoIwanttoexhibitit?Do

ofmythoughtsandplanthispainting’sfuturehome.DoIwanttoexhibitit?DoIhavetheperfectplaceforitinmyownhome?SometimesI’msoinvolvedinthepaintingthatIbrushthesethoughtsawayandplungeahead.Ultimately,though,ifyouexhibitandexpecttosellyourwork,thesearepracticalconcernsyou’llneedtothinkabout.Creatinganexhibitionpiecetakestime,planning,andenergy.

STEP8.MorningWoods.Watercolor.20"×20"(51×51cm).Thefinishedpaintingsuccessfullycapturesmyimpressionofacoolsummermorning,afterIaddfinaldetails.

SpecialWatercolorTechnique:LiftingwithaThirstyBrush

HowtoCreatetheLookofMist

The“thirstybrush”techniqueallowsyoutoliftpaintoffofyourwatercolorpainting.Youmightwanttodothistocreatetheeffectofmistmovingthroughwoods,orperhapsanareaofblindingsunlightinagarden.

Step1.Themostimportanttoolsforthethirstybrushtechniquearecleanwaterandacleanbrush.Choosearoundmediumsizebrush,suchasa#8or#10.

I’lldemonstratethistechniqueonaviewmuchlikethewatercolorIjustcompleted,usingasimilarpalette:cobaltandultramarineblue,quinacridonered,cobaltviolet,anddioxidepurple.Itapesheetsofwatercolorpaperontoasupportboardandsetupmypaperasagridoffour,sothatIcantestthetechniqueseveraldifferentways.

ThesebluesandredsI’vechosenarestainingpigmentsthatwillnotliftcompletelyfromthepaper.That’swhatIwant.(IfIwantedtoliftthemoffcompletely,Iwoulduseliftingwatercolormedium,whichyoucanpurchaseatartsupplystoresoronline.Alternatively,I’dstartoutwithYuposyntheticpaperinsteadofArches.Yupodoesnotabsorbcolorandwipescleanlybacktowhite.)

STEP1.IdividemypaperintoagridoffourwithtapesoIcantestthistechniqueseveraldifferentwaysusingblue,violet,andredstainingpigments.

Step2.ImakeathinpuddleofcleanwateronthepaperwhereIwanttocreatethewoodedareaandthetalltree.Idropwetvioletpaintintothepuddleandwatchitspread.Asitbeginstodry,Idropinwetpurpleandletitspreadontopoftheviolet.

Thisiswheredividingthepaperintogridscomesintoplay.Ittakespracticetogetthefeelingofhowwetthepaintandpapershouldbetoachievetheeffectsthatyouwantinwatercolor.Oneattemptmaybetoorunny,anothertoouneven,athirdjustperfect.Approachthetechniquewithanopenmindandseewhathappens.

happens.

STEP2.Idropcolorintoclear,wetareasandthendragandspreadcolorswithmybrush.

Step3.AsIgetreadytousethethirstybrushtechnique,Iwantthepapertobejustdamp.Youcanjudgehowwetthepaperisbygentlylayingthebackofyourhandonthepapersurface.Ifthepaperiscoolagainstyourhand,it’sdamp.

Istrokeonthedarkerbluetreetrunks.NowIwanttoliftoffsomeofthecolorsoitlookslikemistisfilteringthroughthewoods.

Step4.Whilethetreetrunksarestillwet,Icleanabrushwithwater,andthengentlysqueezeoutthemoisturebyrunningthebristlesbetweenmyfingers.Thebrushisnow“thirsty.”Icanbrushitacrossnewlypaintedareasanditwillliftupthewetpaint.Icanre-wetadryarea,letthepaintcolorloosenforamomentortwo,andusethethirstybrushtoliftupthecolor.Thetrickistowipetheliftedpigmentoffyourthirstybrushbetweeneachstroke,otherwiseyoujustsmudgeliftedpaintbackontothepainting.

STEP4.Squeezethebrushbetweenyourfingerstogetridofexcesswater.Thebrushisnow“thirsty.”

Step5.OncethediffusedcolorisdryandI’veliftedtheareasofpigmenttocreatetheimpressionIdesire,Icangobackandadddarkerdetails.Toreinforcethefeelingofmist,Ikeeptheforegroundricherincolor,detail,andshadow.

STEP5.Afterliftingthewetcolorwiththethirstybrush,Icangobackandadddetails.

Gallery

Ilovepaintingwatercolorsofthewoods—therearesomanyvariations.Hereareafewofmyfavorites.

EarlySpringMorning.Watercolor.20"×30"(51×76cm).

SnowyWoods.Watercolor.24"×24"(61×61cm).

IslandTrail.Watercolor.40"×30"(101.5×76cm).

Demonstration:PaintingtheWoodsinAcrylic

SwitchingfromWatercolortoAcrylic

Whenanimagelooksgreatinwatercolor,Ioftenwanttoseewhatitwilllooklikeinacryliconcanvas.Ienjoyworkingwithacrylic.Comparedtowatercolor,acryliciseasygoingandlazy.Thepaintlandswhereyouputitandstaysthere.Ithasgreatversatility,goingsmoothlyfromthintothickandimpasto.Iremindmyselfthatitdriesquicklyandisunmovableonceitdries.Whenyoupaintwithacrylic,bevigilantaboutkeepingyourbrushesfromdryingandhardening.

MytechniqueforusingacrylicinvolvesaphysicalbuildingupofcolorinaprocesssimilartothewaytheFrenchImpressionistsusedtheiroilpaints.Texturalpaintoncanvashasalotofvisualweight,andcancreateapaintingwithmorephysicalpresencethanawatercolor.Thesizeofthecanvas,too,of

withmorephysicalpresencethanawatercolor.Thesizeofthecanvas,too,ofcourse,willcontributetoitsimpact.

GETTINGREADY

Forthispainting,withtheroaddisappearingintomistywoods,Iwantthecanvaslargeenoughsothatyoucanfeelitpullyouintothepainting.

ImakechangestomystudiowhenImovefromwatercolortoacrylic.Icleanandputawaymysablebrushesandtakeoutmysyntheticacrylicbrushes.Iroundupmyextrapalettesandpapertowelingandplacemyjarsofpaintwithineasyreach.

IlikethecolorsIusedinmymistywoodswatercolorandchoosesimilarpigments:ultramarineandcobaltforsomerichpurplyblues.Ceruleanandphthalo(phthalocyanine)blueforsomegreenerblues,thoughIwanttokeepthispaintingonthepurpleside.Ihavealizarincrimson,whichissimilartoquinacridonered,tomixarangeofpurples.Ialsohavewhite,cadmiumyellowlight,andburntumber,adeep,richbrown.

IntheStudio

Step1.IstartwithapreparedcanvasandbeginmuchasIdidwiththewatercolor,exceptthatIdomysketchingdirectlywithpaint,ratherthanstartingwithpencil.Iuseasingle1"(2.5cm)flatbrushora#12round,andasinglecolortoroughinmydominantshapesanddarkareas,leavingthecurveoftheroaduntouchedforthemoment.

Withacrylic,Icanworkfromdarkestcolorstothelightest,whichisdifferentthanpaintingwithwatercolors.It’samorelogicalprogression.Ibuilduplayersofcolorovertheentirecanvas.Asthepaintingdevelops,Ipausefrequently,putthebrushdown,andreassessthepainting.

AcrylichasgreatflexibilityandIcaneasilymakeadjustmentstothepaintingasIgoalongbyjustpaintingoverareasI’munhappywith.Iwantthispaintingtofeelmagicalandmisty,soIwillkeepthesurfacesmoothandcreamy.

STEP1:Iuseaboldbluetobeginplacingdesignelements.

Step2.Oncemyloose,painteddrawingisdry,Iaddmorecolortothetreesandbackground.Icanbeprettyfreeatthispoint,experimentingwithcolor.IlookbackatthesketchesIdidforthewatercolortogetafeelforlightversusdarkcomparisonsandtoseewhichcolorvariationsIlikethemost.Aloose,sketchyapplicationofrichcoloraddstotheimpressionisticfeeling.

Iwanttocreatethesenseoflightcomingthroughthetrees,thewayitdoesin

Iwanttocreatethesenseoflightcomingthroughthetrees,thewayitdoesinthemorningwhenthemistisrising.Imixupsomelightpinkandblenditintothecanvaswithmyhand,almostasacolorstain.

STEP2:Iaddpinklightcomingthroughthetrees.

Step3.Andnowthemist.Oncethepinklighthasdried,Iinvitethemisttosiftinfromtheleftsideoftheimage.Ivisualizeitasbeinglighterinthefarbackofthespace,darkerandricherclosertothefront.Iaddthewhitepaintinlayers,applyingitfirstwithabrush,andthenblendingitwithmyhandsothatitbecomessoftandwispy.Thelayersbecomewhiterandmoreopaqueastheycovereachother.Irememberclearlythecaressofthedampseafogagainstmyfaceandhowthemoisturemadethepagesofmysketchbooksticktogether.

STEP3.Iusebothmybrushandmyhandstoblendpaintintosoftmist.

USINGYOURHANDSUsingmyhandasamarkmakerisaspontaneouspleasure.Artistshavebeenusingtheirfingersandcoatsleevestomovepaintaroundforages.Oilpainthassomeunpleasantchemicalattributes,whichdiscouragesthispractice,butacrylic,beinglatex,washeseasilyoffyourhandswithmildsoap.Usingmyhands,Icancoverlargeareasquicklywithathincoatofpaint.Icangivethepaintthefeelingofmovement,andIcanblenditsmoothlyintothecanvaswithnobrushstrokes.

movement,andIcanblenditsmoothlyintothecanvaswithnobrushstrokes.

Step4.Acrylicpaintallowsmetocoveranareawithmistandthenpulloutthetreetrunkandthencoveritagain.IstepbacktolookandI’mpleasedwithwhatishappeningonthecanvas.Themistgivestheimpressionofmovingandswirlingthewayitdoeswhenitblowsinfromthesea,blottingoutatreeshapehereandthenthinningtorevealabranchoverthere.Thepurplybluescreateafeelingofmysteryinthepainting,butthereisgoldenlightcomingthrough.Nothingisstatic.Thecompositionissimplebutit’salive.

STEP4.Istepbacktoassessmypainting.Thewhitemistcoverstheentirepaintinganddimstheforegroundandthetreetrunkstotheright.

Step5.Idecidethetreesneedmoredetailinthebark,butwispsofmistcanstillstreakacrossthem.Theywillbedarkerandcrispertheclosertheyaretotheviewer.Ibuilduptheleavesofthefronttreesothatitappearsthreedimensional.Todothat,Imaketheleavesinfrontthedarkest,thenlighterastheroadcurvesaway.

STEP5.Themistrecedesandthetreesre-emergeasIaddvisualinteresttothetrunksandbranches.

Step6.Theprogressionofthisdemonstrationgivesaclearideaofthewonderfulflexibilityoftheacrylicmedium.IlovethewayIcantrydifferentpatternsofbrushwork,varylightsanddarks,andcombinecolors.AllofthesethingsareveryhelpfulwhenIgotoadddappledsunlighttothedirtroad.Asthepaintingprogresses,Iputdownsomepalecadmiumyellowstoaddcolortothewhiteof

theroad.Idecidetoshiftthelightandlightlywisponsomedarkercobaltblueandthenmovethelightontotheshadowbylayeringonadelicaterosepink.IlikethatwhenIchangemymindtherearetracesofthepreviouspaintorbrushworkvisible.Thisworksreallywelltosuggestthefilteringlight.

TheacryliclayersaresoftlybrushedacrosseachothersothatIcanseethelayersunderneath.Icantrydifferentcolorsandthenlessentheirintensitywiththeadditionallayers.TheprocessallowsmetocreatethefeelingIgetwhenIwalkthroughthesun-dappledroad—softshiftingbitsoflightandcolorfallingaroundme.

Step7.WhenIneartheendofapainting,Ilovetositinthechairinmystudioandjustlookatit.Idon’tforceanythingIjustsitandlook.Oftenthepaintingwillstart“talking”tomeandIwillseeareasthatIneedtoadjust.Whenthepaintingsettlesdownandhasnothingmoretosay,it’sfinished.Allowingyourpaintingtotalktoyouisanimportantpartoftheprocess.

WoodlandRoad.Acrylic.36"×36"(91.5×91.5cm).

PAINTINGFLOWERSFROMTHEGARDEN

WHODOESN’TLOVEFLOWERS?DespitemytraininginNewYorkCityartschoolsinthe1980swheretheemphasiswasdecidedlynotfloral,Ilovetopaintflowers.Ilovetheircolor,theirpatterns,theirstructure,theirtextures,andtheirdesignpotential.Ilovetheirvariationsofshapes,edgequalities,andtheirfleetingever-changingness.It’sreassuringtoremindmyselfthatflowerpaintingisoneofthegreatarttraditions.TheImpressionistsshareinthattradition.

Whilesomeartistsconsiderflowersasunimportantanddecorative,theImpressionistscelebratedtheverynatureofflowers.VanGogh,Monet,Pissarro,andRenoirpaintedfieldsofthem—poppies,irises,dahlias,andsunflowers—asbrightlivingcolor,noddingandbendingunderthesun.Theypaintedorchardsinbloomandsinglefloweringsprigs.Theybroughtarmloadsofflowersindoors,piledtheminvases—irises,lilacs,roses,andtulips—andpaintedportraitsofthem,overandoveragain.

TheImpressionistsdidn’tassignsymbolicmeaningstoflowers.Theydidn’ttrytomaketheirpaintingsscientificallycorrect.Theypaintedtheirimpressions,capturingthefragility,thecolor,thecrookedstems,andfadingleavesofflowers.Indoingso,theysomehowcaughttheessenceandeventhescentofflowersandmadethemreal.ThepublichasnevergottentiredoflookingatImpressionistflowerpaintings.Formany,infact,flowersarethefirstthingthatcomestomindwhentheword“Impressionism”ismentioned.

DancingGarden.Acrylic.36"×36"(91.5×91.5cm).

Floralinspirationinthestudio

Nasturtiumsfrommygardeninmyfavoriteyellowpitcher

Myinspirationforpaintingflowersisallaroundmeinthestudio,onvintagefabrics,onpostcards,onporcelainvases,andoldteacups.Butofcoursemygreatestinspirationismyowngarden.ItmakesmegladwhenIreadhowMonetwasintimatelyinvolvedineverydetailofhisgarden.Isharehispassion.

Mygardenisalotlikemypaintings.It’swildandtangledandcreepsstealthilyacrossthebitofwhat’sleftofmylawn.Nasturtiumsareaparticularfavoritebecausetheyhavesuchadesiretogrow,andtheirstemsaresointerestingandunexpected.

Asagardener,Icontinuallyedit.Imovethingsiftheylookunhappy,IpullthingsoutifIdon’tlikethem,andIaddanewplantwhenafriendgivesmeoneorIhappenbyagardenstore.ThisisexactlythewayIpaint,alwaysinflux.Alwayschanging.

Everyflowerhasitsowncharacterandpersonality.Somearerefinedwithexcellentpostureliketheiriswithitsruffledevening-wearedges.Some,likedaisiesarecasualandexudeafeelingofconfidence.Nasturtiumsaremoreliketeenagers—unpredictableintheirsizeandgrowthdirection.Mywhimsicalinterpretationsofflowersmakepaintingthemmorefun.Iliketheideaofcapturingtheessenceofflowers—whatIloveaboutthemwhenIseethem

capturingtheessenceofflowers—whatIloveaboutthemwhenIseethemblooming.Perhapsit’stheircolor,orthewaytheynodinthebreezethatattractsme.

NasturtiumImpression.Watercolor.14"×10"(35.5×25.5cm).

OntheTrellis.Watercolor.22"×10"(56×25.5cm).

Ithinkofflowersasfallingintothreebasicshapes:thecircle,thecup,andtheclump.Thecirclesilhouettecanbedynamicallyshapedwithdeepcutsandirregularedgeslikethefielddaisyandsunflower,orfoldedinonitselflikearose.Thecupsilhouetteisthetulip,magnolia,andlily,withasmoothbottomandanarticulatedtopedge.Theclumpisthelilac,thehydrangea,thegoldenrod,orlavender.

orlavender.Simplifyingtheflowershapesinmymindpreventsmefrombeingsucked

intoabotanicaldazewhenIgotopaintthem.Itallowsmetofocusoncreatingadesignwiththeflowersinapainting,ratherthanfocusingontheirdetails.

Foliageisanotherwonderfuldesignelement.ItrytousefoliagethatisadifferentshapethantheblossomandItrytouseitrepetitivelysotheflowerstandsout,justasitdoesinmygarden.

Alongwithdesign,goodcoloristhefoundationtoagreatflowerpainting.Iusecolorstosharemyemotionalimpressions.Tocreateexcitement,Isurroundhotterredsandyellowwithcooler,darkergreensandblues.SometimesIchooseaquieter,softerfeelingusingadominantcolorlikegoldenyelloworpaleblueandthewholepictureglows.

DayLilies.Watercolor.12"×10"(30.5×25.5cm).

JoyfulGarden.Watercolor.30"×20"(76×51cm).

Demonstration:PaintingFlowersinWatercolor

TheApproach

MygardencallstomeandIchooseitasmysubjectlocationthroughoutthespring,summer,andfall.It’sthecolorandshapeofmyflowersthatIlikethebest.Iliketowatchthegardenchangethroughoutthedayasthelightshifts,affectingtheflowersandfoliage.Ipickthetimeofdaywhenthecolorshowsbest.

PHOTOGRAPHY

Step1.ThemomentswhenIusuallyfeelthatrushofexcitementandgosearchingformycameraarewhenthemorningsuniscomingatanangleacrossthefoliageandblossoms.Sunnymid-morningsareafabuloustimetobeinthegarden.Theblossomsareopeningwider.Theremaystillbedewinthecrookofaleaf.Oftentheshadowsactasdarkcoolbackgroundsandmaketheblossomsappeartojumpout.

Ilikeitwhenthereisenoughsuntohighlightthecolorswithoutbleachingthemortintingthemyellow.ForNewHampshire,it’smidmorning.Itrytorecordthelightchangeswithmycamera.

MyfirstchallengeinapproachingafloweristodetermineexactlywhatIlikeaboutitanditsfoliage.Thisseemsobvious,butIdon’tknowhowmanytimesI’vegottenthree-quartersofthewaythroughapaintingandthenrealizedIwasreallyonlyinterestedinonesmallpart.WiththenasturtiumsIaminterestedinthebigcircularleaves,thethinturningstems,andtheintensityofthecoloroftheblooms.

STARTINGTOPENCILSKETCH

Step2.Ibringmytrustyoutdoorsketchbookwiththebigspiralbindingintothegardenandpullupclosetothenasturtiumsspillingfromaplanter.Ihavemygraphitepencilanderaserready.Thisisanon-pressure,intimate,getting-to-knowtheplantstime.Iadmiretheirleavesandstems.Imarvelattheircolorand

thetinyveinsontheirpetals.Inoticetheinterplayofleafshadows,oneontopofanother.

Idrawblindcontoursketches.Iputmypencilpointonthepaperandasmyeyesfollowthelengthofthestem,mypencilpointtracesitautomaticallyonthepaper.I’mfallinginlovewiththeirdelicatestrengthandvitality.

I’mdefinitelyanamateurgardener.Mygardenisatangle,oftenmorefoliagethanflowers,butIkindoflikethat.Forme,findingthebrightspotsofcolortuckedintotheabundantgreenjustcallsattentiontohowimportanteachpartofthegardenis.

Ilikeflowers,suchasthesenasturtiums,withintensecolorandinterestingsilhouettes.

Sketchingallowsmetoreallyenjoylookingatthebeautyofaflower.

ON-SITEWATERCOLOR

Step3.WhenmypencilsketchinghashelpedmeclarifywhatIwanttocaptureinthepainting,it’stimeformetotransitiontocolor.MuchasIdidwithmyon-sitecolorsketchofthewoods,Iputtogetheranabbreviatedpaletteofcolors,water,brushes,andan8"×10"(20×25.5cm)Archeshotpresswatercolor

blocktoworkwithonsite.IoftenusetwoorthreeofthesewatercolorblockswhenIsketchoutdoors.ThatwayIcanworkonseveralcolorsketchesatatime,whileIwaitforthefirstonestodry.

Myabbreviatedwatercolorkitallowsmetoholdeverythingandpaintatthesametime.

ImpressionofNasturtiums.Watercolor.9"×12"(23×30.5cm).

IntheStudio

Itakeeverythingbacktothestudioandspreadoutmysketchesandphotographsonthefloor.Mydog,Lilly,isgladtogetinfromthesunandwatchesmefromhernestunderatable.Ifeelrichwithsomanychoices.

Movinginsidequietsmymind.Ihavemorecontrolovertheenvironment.It’s

Movinginsidequietsmymind.Ihavemorecontrolovertheenvironment.It’sjustmeandmyimpressions.ThechoicesImakearemyown.Thereisn’tmuchinlifethat’slikethat.It’sanopencandyshopofpossibilities.

Ofteneachsketchandphotohasadifferentlookandfeeldependingonhowdenselytheflowersarearranged,howmanystemsandleavesappear,orwhetherthebackgroundcolorislightordark.Sometimes,whenInoticethatIhaveaslewofphotosandsketchesofasingleimage,itdawnsonme:IalreadyknowhowIwantthispaintingtogo.

Forthispainting,Icreatetwostoryboards,onewithalargesheetofpapertapedintorectangles,andtheotherwiththepapertapedintosquares.IfindthisparticularlyhelpfulwithflowerpaintingsbecauseIliketoplaywiththecompositionoffoliageandblossoms.Startingoutwithtwostoryboards,Icangobackandforthbetweenthem,tryingoutbothformatssimultaneously.IalsoliketohavealotofstoryboardframesforflowerpaintingsbecausethefirstcolorIputdownforeachfloweristhemostintense,delicate,andtransparentthatIwillachieve.Thepigmentispristineonthecleanwhitepaper.EverytimeIgobackintotheblossom,evenifIusethesamecolor,thesurfacewillbecomeatinybitcloudierand,sometimes,drasticallymoreopaqueandgray.ThefirstcolorIputdownformyblossomshastobewhatIwant:practicehelpsmedecide.

Aquietmoment

Step1.Design.Ilikethefeelingofbeingsurroundedbyfoliageandflowers,asifmynoseisrighttherenexttothem,causingtheshapestoblurabit.Tocreatethatfeeling,Ipickupmypencilandmakeanall-overdesignwithoutanyreferencetotheskyorhorizon.Everythingisclosetotheforeground.

Withintheclose-upspaceI’vedrawn,I’vemadeacomplexdesignofoverlappingshapes.Ikeepinmindconsiderationslikevariationsinsizeandmakeapointofvaryingthesizesoftheflowershapes.Icreateabigroundflowerinthecenterleftasafocus.Theoveralldesignisasoftcurvefromthe

flowerinthecenterleftasafocus.Theoveralldesignisasoftcurvefromthebottomleftupalongtherightsideandbackacrossthetop.IputsmallerblossomsatthetopandcropthebiggerblossomontheloweredgeasifI’vecomeinveryclosetoitandcan’tseethewholeblossomatonce.

Firststudiosketch

Step2.Value.I’mreadytoworkonthevaluesketchjustasIdidwiththewoodlandpainting,butI’musingthevaluesdifferentlythistime.I’mnotgoingtoshowthedirectionofthesunlightinthispainting.Thistimeit’saboutcolornotatmosphere.

I’malreadythinkingaboutcolors,butfirstIneedtodecidewhereIwillkeepthepaintinglighterandwhereitwillbedarker.Thelightareaswillbepure,

thepaintinglighterandwhereitwillbedarker.Thelightareaswillbepure,brightcolor,andthedarkerareas,moreopaquemixes.Iplanwherethepaintwillgooninasinglelayerandwhereitwillbemixedoroverlaid.

There’sasayingthatvaluesarethecakeandcoloristhefrostingofagoodpainting.Thevaluesarethestructurethatholdsthepaintingtogether.Themostimportantthingformeinthisdesignistokeepthecompositionlightinthecenter.Iwantthecentertoliftuptowardme,freshandfragrant,asifitwillbrushmynose.SoIwilldarkenthedesignaroundtheedgesandkeepthecenterlight.

Idecidetodarkentheedgesandkeepthecenterlightinmyvaluesketch.

Step3.Color.Iusealotofyellowinallmywatercolorpaintings.Ithasaverylightvalue,soitdoesn’tchangethevaluerangeofthewhitepapertoomuch.Asanunder-painting,itunifiesthefinishedworkwithacommonancestor.Ifglimpsesshowthrough,theyareallpartofthesamecolorfamily.

Ihavealargepalettewithonlyyellowsonit.Iputfiveofoneyellowinarow.AsIworkonthepainting,andreturntothefive,theypickupothercolors

row.AsIworkonthepainting,andreturntothefive,theypickupothercolorsfromthepaintandbecomedifferentyellows.

ForthispaintingI’musingthecadmiumyellowlightasthefirstcolor.Imixapuddlewithclearwateruntilthecolorislight.Ialsomakeapuddleofcadmiumorange.Icancontroltheintensityofthecolorsbyaddingeithermorepigmentormorewater.Ihaveonewatercontainertorinseoffadirtybrushandanotherofcleanwatertodilutecleancolors.Iamusingonebrushfortheyellowandonefororangetostart.Iwillputthepureyellowsandorangesinfirst.

WhenIworkoutmycolorsIgoforbrightwarmth:cadmiumyellowlight,Winsorred,cadmiumred,andcadmiumorangefortheblossoms.Cobaltturquoiseandcobaltbluewillmixtogivemeagoodrangeofgreens.

Severalyellowsmixtogetheronmypalette.

Step4.Firstwash.Ibeginbylightlywashinginthebackgroundcolors,remindingmyselfthatIwanttoarrangethedarksaroundtheedgesandtokeepthecenterlighter.Iusealotofwaterandasoft,roundbrush.Thesizeofthebrushdependsonthesizeofpaper.I’mworkingonasmallpieceofpapersoIselecta#8brush.

Ibrushtheclearwateronfirstinasimpleroundshape,alittlesmallerthanI

Ibrushtheclearwateronfirstinasimpleroundshape,alittlesmallerthanIthinktheflowerwillbe.ThenIdropthecolorintothecenterandwatchasthecolorspreadsoutintothewetshape.Thisisawet-on-wetwatercolortechnique.

InotherareasofthepaintingIwillloadupabrushwiththewaterandcolorI’vemixedonmypaletteandpaintdirectlyontothedrypaper.Thisiswet-onto-drypainting.Whenyou’repainting,usewhichevertechniqueyouprefer,whereveryouwant,bothinthesamepaintingifyoulike,andmakeupvariationsofyourowntogetthelookyouwant.

Myfirstlightwashofpurecolorisalemonyyellow,reachingtowardgreen.Ialsouseorange,whichI’vemixedonmypaletteusingtheyellowsandsomecadmiumred.

Step5.Secondwash.Iletthefirstwashdrybeforeproceeding.Inthisround,Ibeginestablishingthefoliageshapesinthecenterbylettingsomeyellowsandwetturquoisebluesblendtogetheronthepaper.Istayawayfromtheflowersandworkonlywithmygreensandblues.

Iaddarangeofhappygreens.

Step6.Addingfoliage.Icontinuedevelopingthefoliagewhileavoidingthedryingblossoms.Imixseveraldifferentgreensonmypalette.Thecontrastbetweenthegreensandtheorangesshouldbestriking.IfIusedonlyoneorangeandonlyonegreen,thecontrastswouldlookflat.Thetimespentmixingthevariationsofbluesandyellowsandgreensistimeverywellspent.Watercolorpigmentsdonotallmixthesame.Eachpigment,andeveneachbrand,hasa

slightlydifferentchemicalformulacausingittodilute,granulate,anddissipateitsownway.

Iuseayellowgreeninthecenterofthepaintingtoconnecttheblossomsvisually.Iusefreshwaterandbrushestomakesuretheorangesandredsdonotmixwithmygreens.Iftheorangemixeswiththegreen,Iwillgetabrowngreen,whichcanbebeautiful,butit’snotwhatIwanthere.Imixabluergreenforfoliagearoundtheedgesofthepainting,alwayssupportingmyoriginalideaoflightandwarmthinthecenterofthedesign.

Igivemoreformtothegreenfoliagebyshapingleavesandstems.

Step7.Addingtexturetotheflowers.Oncethefeelingofdepthissuggestedbythevariationsofgreensinthefoliage,Igobacktoaddricherorangestomyflowers.

Igetcleanwater,rinsemybrushes,andrewettheyellowsandorangesonmypalette.Iwanttobeginaddingdelicatetexturetothepetals,butIdon’twanttogettoofussy.Idecidetouseplasticwraptocreatethefeelingofthefoldsandveinsinthepetals.(Seeheretoherefordetailsontheplasticwraptechnique.)

Iuseplasticwraptoadddelicatedetailstothepetals.

Step8.Addingdetailstothefoliage.WhileIwaitforthepainttodryundertheplasticwrap,Imakesomedecisionsaboutthefoliage.I’vealreadydecidedI

wantitbrightandcheerful,buttheamountofdetailIputintothefoliagewilldeterminethedegreeofattentionitwillattract.

Oftenit’sthebackgroundthatdeterminesthevolumeandtempoofapainting.IfIdescribeeveryleafandindicateeverystem,thepaintingwillbevisuallydemanding.IfIblurtheleavesandindicateonlythebitsofstems,thepaintingwillrelaxanditwillfeelasthoughtheairismovingthroughit.Idecidetoblurtheleavesandsuddenlythepaintingrelaxes.

Icangobackintothepatternsmadewiththeplasticwraptosoftensomeanddarkenothers.

Icangobackintothepatternsmadewiththeplasticwraptosoftensomeanddarkenothers.

Step9.Thereveal.Igetfreshwaterandgobacktoconsidertheflowers.I’meagertoseetheeffectofthewrap.Igentlyliftofftheplastic.Eachblossomisdifferent.Iadmirethewaythedarkerredsandorangesmakeaflutedpatternacrossthedelicatefirstwashes.Itouchthetexturedpainttomakesureit’scompletelydrybeforemovingon.

AsIadjustthedetailsoftheblossoms,Iamcarefulnottocoverthefirstwashorlosethecrispnessoftheplastic-wrapimprint.Thisisnotthetimeforbiggesturalbrushwork.Usingasmallbrush,suchas#1round,Iaddadarkerarea,nevermorethanathirdoftheblossom.Ican’tstressenoughtheimportanceofusingcleanwaterwhenworkingwithflowercolors.Eventheslightestamountofgreenorblueinthewaterwillmutetheorange,andIwantthecolortostaybright.

TofinishupIadddotsofvaryingsizesandcolorstocreatethecenteroftheflowers.Iplacethemsothattheflowersappeartoturnintofaceeachother.

Addingthefinaldetailstothecentersoftheflowers.

Step10.Standingout.Isquintatthepainting,whichallowsmetoseetheoverallcompositionandvaluerelationships.IletmymindslipbacktothefeelingsIhadleaningintothebrightgloryoftheblossoms,hearingthebuzzofthebusyhoneybee,feelingthesun’sheatonmyback.ThesquarewatercolorI’vebeenworkingon(opposite)reallycapturestheimpressionIamhopingfor.

Thefinishedwatercolor

SpecialWatercolorTechnique:PlasticWrap

CreatingTexturePlastickitchenwrapisastapleforeverywatercolorist.IavoidedusingitformanyyearsbecauseIthoughtitwastoogimmicky.ButIdiscoveredintimethatifyouuseitproperly,itcanaddalevelofdelicatedetailtoeventhemostexpertwatercolors.

You’llneedclingykitchenwrap,cleanwater(aspritzerhelps),aroundbrush,andseveralcolorsofpaint.I’vedecidedtotryitonsomemorenasturtiumsandhavechosencadmiumyellowlight,pyrroleorange,cadmiumorange,andcadmiumred.

Inthisprocess,you’lluseplasticwraptocreateacrinkledpatterninthepaint.Onceitdries,youcanthenusethethirstybrushtechnique(Shownheretohere)toaddwashesandliftoutcolorinthetexturedpattern.

Step1.Spritzorbrushathinpuddleofwateronthepaperwhereyouwanttocreatetheflowers.Dropsomebrightyellowintothewaterandwatchthecolorspread.Whentheyellowdries,makeanotherpuddleofclearwateroverthefirstanddropinsomeorangeorredwherethecenteroftheblossomwillbe.

Step2.Whiletheorangepaintisstillquitewet,tearasquareofplasticwrapdoublethesizeoftheblossom.Pinchthecenteroftheplasticsquareandpullouttheedgessothatitispleatedfromthecenteroutward.

Step3.Oncethepleatsandcreasesarearranged,placethesquareofplasticoverthewetorangepaint.Presslightly;youwillseetheorangepaintsquishintothecreasesoftheplasticwrap.

Step4.Allowthepainttodrycompletelybeforeshiftingorremovingtheplasticwrap.Thebestwaytotellwhetherthepaintisdrywithoutremovingtheplasticistoblowonit.Iftheplasticslidesoffthepaper,thepaintisdry.

Step5.Nowyoucangobackintoyourpaintingandaddfoliageaswellasdetails.

Step6.Thedrierthepaperandpigment,thecrisperthepatternwillbe.Onceyourpatternisdry,youcanpaintoveritwithdarkerwashesorliftoutareastocreatecontourinthepetals.

Gallery

Flowersaregloriouslyvariedinshape,color,anddetails.Thesefinishedpaintingscelebratethebeautyoftheflower.

ImpressionsofNasturtiums.Watercolor.22"×12"(56×30.5cm).

MoonlightonPeonies.Watercolor.22"×11"(56×28cm).

MorningGardeninJune.Watercolor.11"×22"(28×56cm).

GoldenMelody.Watercolor.22"×12"(56×30.5cm).

Demonstration:PaintingFlowersinAcrylic

WhenIthinkofflowerpaintingsoncanvas,Monet’swaterliliesandfieldsofpoppiescometomind.Let’saddVanGogh’ssunflowersandirisesandRenoir’senormousvasesofrustandgoldchrysanthemums.Theseartistsknewwhatitwasliketohavetheirnosesrightupclosetotheblossom.That’smyfavoriteview,too.IamstillintriguedwiththeideathatIstartedinwatercolor.

Workingwithacryliconcanvas,however,offersmegreaterflexibilityinthepaintingprocessandaphysicalpresencebeyondthewatercolors.ThecolordrieswhereIputit,andbydraggingandscumblingthepaint,Icanbuilduptactilelayers,allowingdozensofcolorstositincloseproximity.Whencloseup,youcanseeallthetinybitsoftheindividualcolors.Stepawayandthecolorsblendintothree-dimensionalforms.Monet’swaterliliesareaperfectexample.

AsIapproachtheideaofbeginningapaintinginacrylic,I’mthinkingitwouldbegreattobuildupacomplexphysicalsurfaceinoneareaofthepaintingandasmooth,thinsurfaceofasinglecolorinanother.I’llneedtopayattentiontothethinlayersofpaintthatprovidethetransparencyofthepetalswithoutmakingthemsothinthatIlosethebighappyorangecolor.Asinthewatercolorpainting,Iintendtousetheplastic-wraptechniquetosuggestapatternofthinveinsonthepetals.

Big,BoldandBeautiful.Acryliconcanvas.36"×36"(91.5×91.5cm).

GettingReady

Iputawaymywatercolorgearandbringoutmyacrylicwaterbuckets,syntheticbrushes,andjarsandtubesofacrylicpaint.Ialsogatheroldplasticlidsandplasticplatestouseaspalettes,arollofplasticwrap,andpapertowels.

Iwanttokeepthebright,warmredsandorangesthatIusedinthewatercolor,soformyfloralcolors,Ichoosecadmiumredlightandcadmiumredmedium.Cadmiumyellowandlemonyaureolinyellowwilladdwarmth.I’llalsouse

Cadmiumyellowandlemonyaureolinyellowwilladdwarmth.I’llalsousetitaniumwhite,burntumber,andadarkerred(perhapsapyrroleredoralizarincrimson)forthedeepertones.Iwantthispaintingtomakemecheerful,soIwillcontrastthebrightorangeflowerswithgreen.Choosingturquoiseformygreenswillmaketheredsandorangespop,butIalsowantcobaltblueforacoolergreenmixture.

Colorinspirationinthestudio

IntheStudio

Step1.Settingupanacrylicpaletteisdifferentthansettingupawatercolorpalette.Professionalwatercolorpaintsarepigment-intense.Theyarethinnerandquicklysettleintoaflatpuddlewhenyousqueezethemout.Acrylicshavemorefillerandbinder,givingthemafull-body,toothpastetexture.

Isqueezeoutagenerousblobofcadmiumyellowandabloboftitaniumwhite.Iwon’tputoutallthecolorsIintendtousebecausetheydrysoquickly.Ibeginwiththeyellowandwhite,leavinglotsofroomonthepalettetomixandmovethepaints.Acrylicdoesnotflowlikewatercolor.Ihavetodragthepaintstogether.Aswithwatercolor,Iuseseparatebrushes,onefororangesandyellows,andtheotherforgreens.Ialsouseseparatewatercontainersforeach.

Iputthepre-stretchedandgessoedcanvasonmyeaselandchooseahefty#12syntheticroundbrush.Thisisadurable,flexiblebrushthatholdsalotofpaintandallowsforawetapplicationofpaint.

Irarelystartacrylicpaintingswithpencilsketches,butinsteadstartdirectlywithpaint.Withacrylic,Icanalwaysgobackoveranareatochangeit.Inthiscase,withmysketchesasmodels,Ihavemydesignclearinmymind.

Ibrushlargecirclesofbright(butnotthick)yellowpaintontothecanvasandletitdry.Whileitsets,Isquirtoutcadmiumorangeandanadditionalblobofwhiteonmypalette.Onanotherpalette,Isetoutmygreens—usingyellows,turquoise,cobaltblue,andwhite.IaddpaleorangelooselyinareasovertheyellowandsketchinwithgreenwhereIwantimportantpiecesoffoliagetobe.

MaterialsincludeGoldenandLiquitexacrylicpaints,aplasticwaterbucket,andacrylicpaintbrushes.

Firstloose,boldwashes

Step2.Whenthepaintisdry,I’mreadytousetheplasticwrap,inthesamewayasIdowithwatercolors(seeheretohere).ThiswillbeeasiestifIlaythecanvasflatonthefloororonalargeworksurface.Imixared-orangeonapaletteandbrushitovertheyellowflowers,tryingtostaywithintheflowershape,andpilingthepaintthicklyatthecenter.IcutapieceofplasticwraplargerthantheareaIwanttocoverandpinchthecenterofthewraptocreateapatternofwrinklesandfolds.Iplaceitoverthewetpaintandgentlypressdown,

encouragingthethickred-orangepainttomoveintothefoldsofthewrap,andthenIleaveittodry.

NOTE:Togettheclearest,mostdelicatestriationsoftexturefromplasticwrap,it’sbesttousethetechniqueonlyonceforeachflower.Later,asthepaintingprogresses,youcanreturnandrepeattheprocessinsmallerareas.Youcandothisatanytime.Overdoingitwiththeplastic-wraptechniquecancausethetexturetobecomeconfusing,losingthefeelingofthedelicateflower.Asingleapplicationisbest.

Placetheplasticwrapontothewetacrylicpaintandarrangethecrinklesandpleatstosuggestpetaldetails.

Step3.Whilethepaintisdryingundertheplasticwrap,Iworkonthefoliage.Intheearlierwatercolorpainting,Ipainted“negatively,”fillingintheshapesaroundthelighterleaves.Withacrylic,that’snotnecessary;Icanpainttheleavesinfrontandthefoliageinbackatthesametime.

WhatIneedtokeepinmindisthattheleavesinfrontwillbelighterandyellow-green.Theleavesbehindthemwillbedarkerandbluer.Icanmixmygreensinanorderlywaybythinkingintermsoflight,medium,anddark,andmovingfromwarmyellowstocoolerblues.

Isqueezecadmiumyellowlightandturquoiseontomypalette,alongwithwhite.Foracoolerbluegreen,Iaddasqueezeofcobalt.(Mypaletteiscoveredwithmanycoinsizepilesofvariousgreens.)ThenImix,tryingdifferent

withmanycoinsizepilesofvariousgreens.)ThenImix,tryingdifferentvariations,sometimesmixingallthedifferentgreenstogether.IwanttocapturetherichvarietyofgreensIseeinthegarden.

Alwaysmixcolorsuntilyoulikethem.Everyonehasaslightlydifferentcolortaste.It’swhatmakesyourartyours.

Smoothsomeofthecreasestoblendthecolors.

Step4.Irepeattheplastic-wrapprocessonthefoliage.Buildinguprichvariationsinthecolorandtexturesofthefoliageiscriticalforthispainting.Icanremovetheplasticwrapwithinminutesofputtingitonifthepaintisthick,orIcanleaveitonallafternoon.IvarymytimingtoseewhatIlike.Theflexibilityoftheacrylicallowsmetomakebigandsmalladjustmentsthroughoutthepaintingprocess.

Repeattheplastic-wraptechniqueontheleaves.

Mixsomegreens,keepingvariationsonthepalette.

Step5.AsIshapeandblendmyfoliagecolors,Isimultaneouslyrefinetheflowershapesbybringingthegreenuptotheorange.Ithinkaboutbringingtheleavesundertheflowers.Irememberthelayersandlayersofleavesandstemsundertheflowersinmynasturtiumgarden.Ithinkaboutthedelicateedgesofthefloweragainsttherich,thickerfoliage.

Ilikethetangleofleavesandtendrils.They’vecreatedtheimpressionI

Ilikethetangleofleavesandtendrils.They’vecreatedtheimpressionIwanted,butIdoneedafocusinthepaintingtodrawtheeye.Isqueezealizarincrimsonontothepaletteanduseasmallerbrushtodabadarkercenteroneachflowersotheflowersseemtotalktoeachother—asIdidformyin-studiowatercolorpainting.

Ibuilduplayersoforange,yellow,anddeepred.

Ilightlytapsomeorangeacrosstheyellowtosuggestthethin,delicateimpressionofthepetals.

Step6.Artisawonderfulprocessofstartingwithalooseidea,makingdecisionsaboutit,andthenrefiningituntilyouknowit’sdone.Ihavemademostofthebigdecisionsaboutthispainting.Theprocessisn’toveryet,butnowIcanrelaxandhavefunrefiningtheblossomsfurther.

Iusesmallerbrushes—small,syntheticflats.Imakeapointofusingnewbrushesnow,soIcanachieveatidyedge.Mybrushstrokesbecomesmaller.I

brushesnow,soIcanachieveatidyedge.Mybrushstrokesbecomesmaller.Icontinuetocleanuptheblossomedgesbyoutliningthemwithvariouslight,dark,andyellowgreens.Yellowgreensareforthefoliagetuckedaroundthepetals.Thedarkerbluegreenisforthesmallspacesbetweenthelighterleavesandaroundtheedgesofthedesign.

Detailingreds

Step7.Itakeabreaktositinmybigstudiochairand“listen”tothepainting.Whatisitsaying?Doesitneedsomethinghere?Isittoobusythere?CanIfeelthedelicatevitalityofthepetals?

Workinginthegreens

Step8.Finishingupthisacrylicisawonderfulslowdanceofaddingglimpsesofdetailamongtheleaves.Iaddagracefulbendingstemofthecurveofashadowedpetal.Ialsoaddmoredarkdetailstothecenters.Ilookforthemost“talkative”blossom,theonethattheothersseemtobelisteningto.

Iadjusttheflowers’strengthsbyvaryingdetailandcontrast.Themostimportantflowershavethedarkest,mostdramaticcenters,andthelessimportant

importantflowershavethedarkest,mostdramaticcenters,andthelessimportantmayhavejustafewspotsofbodycolor.Thecentersoftheflowersbecomelessdramaticastheeyemovesawayfromthecenterofthepainting.I’vetriedtocapturethefeelingthatIamleaningintotheseflowersandleaves.

Paintingdetailswithasmall,roundbrush

Step9.I’mhappywiththeoutcomeofthispainting.Ithasthebrightcolorsandinterestingdesignofmyearlierwatercolorplusthephysicaltextureandpresenceofacrylic.Itseemstocallout“comelookatme”whenyouwalkintoitsspace.That’swhatattractedmetothenasturtiums,whenIphotographedtheminthegarden.

AsIfinishup,Iusecrispdrawnlinesofbrightredtorefinetheshapes.

Gallery

Herearesomeotheracrylicpaintingsofflowersfrommygarden.

Geraniums.Acryliconcanvas.20"×20"(51×51cm).

QueenAnne’sLaceEvening.Acryliconcanvas.30"×30"(76×76cm).

Nasturtiums#5.Acryliconcanvas.30"×30"(76×76cm).

TulipTango#2.Acryliconcanvas.30"×30"(76×76cm).

PAINTINGTHEROCKSANDSEA

IAMATTRACTEDTOTHEVARIATIONSOFWATERMOVEMENT.Sometimes,inagardenpool,forinstance,themovementisnearlyinvisible.Incontrast,themovementofapoundingoceanwaveisalmostoverwhelming,happeningeverywhereatoncewithdifferentcolorsandtexturesandpatterns.It’seasytocomparethevariabilityofwater’smovementtosomanydifferentkindsofmusic,fromlullabytoparadebandtofullsymphonyorchestra.

Paintingpicturesofwaterisalwaysagoodidea.Therearesomanyaspectstoappreciate.Ilovelookingatthelightandshadowsinthemovingwater,theflowofthecurrentsplittingaroundarock,theshiftingreflectionsofthecloudsanddistantshorelineripplingacrossthesurface,andthefishandpebblesbeneathit.Alongtheshore,ourgreen-ochreseaweedcalled“rockweed”wrapsandswirlsaboveandbelowthesurfacewitheachbreakingwave.Forme,it’smesmerizing.

OneofmyfavoritesubjectstopaintisNewCastle’soceanshoreline.Ihavedoneitmanytimes.I’veattemptedtocapturemyimpressionofthedifferentaspectsoftheocean—sometimesmoresuccessfullythanothertimes.Myexperiencegrowinguphere,searchingtherocksandtidalpoolsforstarfishandseaurchins,mademeimaginecrevicesofhiddentreasures.Thepossibilityofaslipontherocksandanunceremoniousdunkingintotheverycold,rockweedcamouflagedpools,howevershallow,madetheexperiencefraughtwithhazard.TheAtlanticOceanoffofNewEnglandisalwayscold,eveninthesummer.

EarlyIslandMorning.Watercolor.20"×30"(51×76cm).

Oneofthemostchallengingaspectsofpaintingwateris,unsurprisingly,itsmovement.Therearemanywaystopaintoceanwaves.Someartistsseemto“freeze”thewaveinmid-tumble.TheFrenchImpressionistswerecaptivatedbypatternsofthewavesheavingandcrestingfromadistance.Theyportrayedthemmovingwithblurrededgesandmyriadcolorsreflectingthesunlightandsky.

Similarly,WinslowHomer,perhapsthebestAmericanpainterofwaterandwaves,capturedmovingpowerandsplatteringfoaminhisProutsNeckoceanpaintings.Hechosetoforgotheanatomicalrenderingofawaveandinsteadportrayedtheimpressionofpouring,spillingwaterandruggedrocks.

WhenIstartthinkingaboutpaintingtheoceanIremindmyselftosimplify

WhenIstartthinkingaboutpaintingtheoceanIremindmyselftosimplifymyimpressions.Thecompositionalelements,lightanddarkrelationships,andcolorchoicesbecomeimportanttoexpressingthefeelingsIhopetoconvey.

Compositionisparticularlyimportantincreatingthemood.Willthepictureseemtotiltandloomorbalanceevenlyandpeacefully?Themoredramatictheangles,themoreexcitingthepainting.ButperhapsIwantanentirelydifferentfeeling,oneofrelaxationandescape.IfIstretchastraightunbrokenhorizonlinemidwaythroughmypaper,thefeelingisstableandrelaxing.

Mypaletteisequallyimportant.Willthecolorsvarydramaticallybetweenlightanddark?WillIchoosecolorsthataresaturatedandintense,ormuted,softlyblendedgrays?

ThewayIconveyenergyinmybrushworkwillhaveabigeffect.Ifthestrokesareblendedandnearlyinvisible,thefeelingwillbecalm.Ifthebrushworkisplainlyvisible,abrupt,andgoinginalldirections,theimagewillbeenergizedandmoredramatic.

IfIwanttosharetheexcitingimpressionofbeingpracticallyinthewater,Iwillleaveoutthehorizonlineandfilltheimageswithactivediagonalsofwhitefoamandintensecolor.

Watercanexpresssomanyemotions,itisnowonderitissuchapopularpaintingsubject.DecidinghowdramaticorcalmIwantawaterscapetofeelisthefirststepincreatingastrongpainting.

MorningChop.Watercolor.22"×30"(56×76cm).

Demonstration:PaintingtheRocksandSeainWatercolor

Ontheoceansideoftheisland

MostofourshorelineincoastalNewHampshireisrocky.WhenIthinkofchoosingaspecificsiteforawatercolordemonstration,thereisonespecialplaceontheislandthatcomestomind.

Ahistoricfortstillstandsguardonthesoutheastsideoftheisland.Therocksalongitsshorearehugeandrough.Theyareachaoticmixofblack,roundedshapeswithwhite,bleachedtops,darkredblocksthatshatterintorectangles,andsoftgraylumpsthatseemtomeltabitundereachwave.It’sagloriousplace.Thereareseldomanypeopletherebecauseoftheroughwalking.Icansitundisturbeduntilthetidecomesin.

Ispendextratimejustbeingthere,breathingthesaltair.Iclosemyeyesandtrytodifferentiatebetweenthesmelloftheoceanandtheraftsofdryingseaweedonthehigherrocks.IsitlisteninguntilIcanhearthewaveshittinginasequencearoundme:theboomthatechoesfromalowoverhang,thecrackofthebreakerjustoffshore,andthehissasthewavepullsbackacrossthesmallerrocks.SometimesIhavetomakeanefforttoopenmyeyesagain.Beingableto

takethetimetonotonlybethere,buttoexperiencebeingthere,isoneofthegreatestperksofbeinganartist.

Eventuallysittingontheroughsurfaceoftherocksbecomesuncomfortableenoughtopullmefrommyreveriesandpushmetowardmywork.

SometimesIforgettosketchandjustsit,lostin“seeing.”

TheApproach

PHOTOGRAPHY

Step1.Ipulloutmycameraandstartsnappingphotos,lookingatdifferentangles.Icrouchtoviewthewhiterocksaboveme,climbhightolookdownintoawidecrevice,orsitstilltosnapapanoramaoftherocks,breakingwaves,anddistanthorizon—withorwithouttheobliginglobsterboatandlighthouse.

Itakephotosinseries,tryingtocatchthefoamontherocksatthebest

Itakephotosinseries,tryingtocatchthefoamontherocksatthebestmoment.It’sharderthanIthought,andIbegintothinkthatpaintingitmightbeeasierthantryingtocaptureitwithacamera.

Capturingquickimpressionsoftherocksandsea

PENCILSKETCHING

Step2.I’mgladIbroughtbothmycameraandmydrawingtoolstoday.Ihavemyspiral-boundsketchbook,graphitepencil,anderaser.Imoveaboutquickly,sketchinginthelargershapesandshadingthesideswithsmudgesorcrosshatching.Immediatelyitbecomescleartomethatoneofthemoreintriguingaspectsofthesceneistheheavymassoftherocksandthefluidtransparencyofthewater.ThatiswhatIwanttotrytocapture.

IknowfromexperiencethatmyoutlinesoftherockshapesneedtobeclearlydefinedsothatwhenIgetbacktothestudiotheystillretainthequalityofbeingspecificrocks.

Rocksareinteresting.Theyhavelayersofcolorandfascinatingstriationpatternsbecauseoftheirconstantabusefromthewaves.IhavetoremindmyselftoresistthetemptationtodetailthesurfacesuntilI’vesketchedtheirshapes.It’slikeafellowwearingabrightpinkpaisleyshirt:IhavetosketchthefellowbeforeIgettothepaisley.

beforeIgettothepaisley.Itrytocapturetherock’sweightinmydrawing.Ichant“rock,rock,rock”to

myselfasIsketchandtrytofeelitssolidityandsizeasifIweretherockitself.Ithelps.Byremindingmyselfthattherocksaredarkeronthebottomandlighteronthetopwithaboxymass,mysketchescapturetheimpressionI’mlookingfor.

Keepthepencilsketchlooseandletthemomentinspireyou.

Step3.IhavetoclearmymindandchangegearsasIstarttosketchthewaves.Theirnatureistheoppositeoftherocks.AsIsketchquicklinesthatrepresentthecurrentflowingin,Iimaginetheforceofthewatersweepingaroundthefarrockandspillingoverthesmallerledgesbeforeswirlingbackonitself.

It’scriticalthatIunderstandthenatureofthatflow;thewayitpushesbackagainstitself.Itburstsintoahighspraywhenithitsthefarthestrockfirstand

againstitself.Itburstsintoahighspraywhenithitsthefarthestrockfirstandthendiesdownasit’sdraggedfrombeneathbytheshoreline.IcatchmyselfmakingsoundslikethewavesasIsketchthem;it’sjustaswelltherearenootherpeoplearound.

Myoutdoorwatercolorkitwedgedbetweenoceanshorerocks

WATERCOLORSKETCHING

Step4.Luckily,thenextmorningtheweatherhasnotchangedtoomuch.Itrytogetbacktothesitewhenthetideisaboutthesameasthedaybefore.Ihavemytravelingwatercolorkitwithme:yellow,red,andbluepaintdriedonalittleplasticpalette,myspraybottleandasmallroundbrush.I’vebroughtalongtwo8"×10"(20×25cm)blocksofArcheshotpress140lb(300g/m2)paper.Itcanbeextremelywindyontheshore,soI’vebroughtminimalsuppliesandonlythingsthatcan’tblowaway.I’vecarriedeverythinginacross-bodypaintingsatchel;IneedmyhandsfreewhenImovearound.

Ibeginrealistically,choosingcolorsthatcomeclosetowhatisthere.TherocksaresobeautifulIhavetoconsciouslyfightthetemptationtofocusontheirstriations.MaybesomedayIwillcomebackandpaintjusttherocks,buttodayIwantthebroaderseascapefeeling.

Thecoloroftherockweedasitundulatesinthecurrentisamixofyellow,red,andblue.Itglowsagainstthegrayeddarknessoftherocks.Itrytogetafeelforthecolorofthewaterasitbreaksovertherocksandswirlsintheshallows.Itrytocapturethecolorofthefallingedgeoffoamasthewavesbreakagainsttherocks.Iheadbacktothestudioinspired.

rocks.Iheadbacktothestudioinspired.

Breakingwaves

Patternsofrockweed,roilinginfromthewaves

InspirationfrompaintersEdBetts,JoanMitchell,HelenFrankenthaler,andWolfKahn

IntheStudio

Ittakeslongerthanusualtoadjusttobeinginside,probablybecauseoftherushofseaairI’vebeenbreathing.Itakemytime,inpartbecauseI’malittleoverwhelmedbytheideaoftryingtopainttheswirling,crashingenergyofthewaves.HowdidIdoitbefore?Howhaveotherartistsdoneit?

IdigintomystacksofbooksandartmagazinesandIlookthroughmountainsofmyolderwatercolors,tryingtoconnectwithpreviousideas.I’munconsciouslysortingthroughmyimpressionsoftheexperienceandamconfidentthatwhatcomesoutintheendwillbestrongerbecauseofthisprocess.

Irealizethatit’sthesimplicityofmydesiredcomposition—onethatissolelywavesandrockswithnoskyorbeach—thatmakesproceedingdifficult.

Iwantthefeelingofenergyinthewaves.IwanttofeelthestingoftheseasprayonmycheekwhenIlookatmyfinalpainting.CanIachievethat?

Itapeagridontoalargesheetofwatercolorpaperwiththatgoalinmind.Ialsoassembleplasticwrap,asingle-edgerazorblade,awhitecandlestubforwaxresist,anoldtoothbrush,asmallwatercolorsponge,aspraybottleofcleanwater,andpapertowels.

Collectingmaterialsforthein-studiowatercolorpainting

Step1.Design.Istartwithalightpencilsketch,tryingtocapturethemovementandrhythmofthewaves.Theplacementoftherocksiscriticaltothedesign.Iftheyhuddlealongthelowerhalfofthecomposition,theyfeeltame.Iftheyrisetotheheightoftheformat,theybecomeloomingforces.

Idecidetostartwithabig,amedium,andasmallshape.Ipositionmyrockssothattheyrecedeinspace.Thelargerockintheforegroundgivesthevieweraplacetostand.I’llopenonesideofthecompositionforthewatertoflowthrough.Theback-and-forthjostlingofthewaterwillcontrastwiththesolidnessoftherocks.

Tworocksanchorthecornersandsqueezetherushingwatertowardthebottomright.Therocksholdthedesignlikethumbtacksholdingripplingsilk.Thewaterwillcommandattentionasitpoursthroughthecenterofthedesign,bumpingintotherocksanderuptingintospray.Toaddtotheenergyofthepainting,Izoominclose,eliminatingtheskycompletely.

Thisisjustonepossiblecomposition.Itexpressesonelevelofdrama.Whenyousetouttodoaseascape—oranypaintingforthatmatter—tryallsortsofcompositionsandbeawareofwhatintensifiesorrelaxesthedramaoftheimage.I’llbeworkingonseveraldifferentversionsatonce,asIdidearlierinthebook.

Idoaquickstudiosketchtosimplifymyimpressionsintoasolidcomposition.Thisismydesignsketch.

Step2.Value.OneoftheinterestingthingsthathappenswhenIlookatmydesignforthispaintingisthewaymyeyegoesbackandforthfromrockstowater.Atfirst,therocksarethepositiveobjectsandthewaterrunsaroundthem.Atsecondglance,it’sthewaterthatisthepositiveforceandtherocksareshadowyelements.

Whenyoucomeacrossthiskindofbackandforthinadesign,considerbothaspectstodecidewhichoneyouwanttoemphasize.Inthevaluesketch,Ilookatthelightandthedark.Thelightofthefoamingwaterisinhighcontrasttothedarkrocks.

Youcansubtlymaketherocksmoreimportantandhavethewaterbethebackgroundaroundthem,ordecidethewaterwillbethemostinterestingpart,withlovelycolorsandsplattersoffoam.Iscribbleanoteinthemargintoremindmyselfthatit’sthewaterthatwillbemyfocus.

myselfthatit’sthewaterthatwillbemyfocus.

Thelightofthefoamingwatershouldbeinhighcontrastagainstthedarkrocks.Thisismyvaluesketch.

Step3.Color.I’vedecidedtopaintenergeticwavesandchooseabrightassortmentofblues:cobalt,cyan,ultramarine,andcobaltturquoise.Toaddtothegreenofthewater,andtohighlighttherocks,Ichoosemyfavoritecadmiumyellowlight,aswellasyellowochre.

Fortherocks,Iselectburntumberbecauseitisareddishbrownandabitofcadmiumred.So,infact,Ihaveaversionortwoofthethreeprimarycolors—red,yellow,andblue—onhand.Mypalettebecomesalmostinfinitewiththesecolors.IalsohaveatubeofChinesewhitepaint.ThisisoneoftheraretimesIincludeopaquewhiteonmypalette.Iwilluseitforthefinalfoamytouches.

Formycolorsketch,thepalettethatIchoosewilldeterminethemoodofthispainting.IfIusePayne’sgrayandindigoratherthanbrightturquoises,Iwillendupwithaverydifferentpainting.Choosinglivelybluesthathoverbetweenwarmandcool,suchascobaltandcyan,makesthedramamoreinviting,sothatIcouldalmostfeelthesprayofthewaves.

Step4.NowthatIhavethedesign,value,andcolorfiguredout,Ibeginwiththestudiowatercolorpainting.Istartwiththeplastic-wraptechnique(seeheretohere)tocreateadifferentfeelingthroughthetexture.Iwantthepatternscreatedbytheplasticwraptosuggesttheflowofwater.

Istartwiththewater.Myfirstlightwashofyellowsetstheimageinplace.Ipulloffalongstripofplasticwrapandusetheonepiecetocoverthewaterflowingfromtoptobottom.(Becausemywaterwillbegreen,Icanstartwithbrightyellowandoverlaywashesofbluetoproduceorganicgreens.)

Whenthepaintisdryundertheplasticwrap,Iliftit.Evenwiththisfirst

Whenthepaintisdryundertheplasticwrap,Iliftit.Evenwiththisfirstwash,IamthinkingabouthowmuchfoamandsplashIwillwantlateron.Toprepare,Icenterthewashofcolorbetweentherocksandleavebarewhitepaperallaroundit.Imixsomebrownsandlightlyaddthemwheretherockswillbe.Again,Iusetheplastic-wraptechniqueontherockstocreateshortandraggedpatterns,differentfromthelong,smoothpatternoftheflowingwaves.Icrinkleupsomewrapandpressitonthestill-wetbrownpaint.

Forthestudiowatercolorpainting,Ihavechosenawarmerpalette.Forthefirstwash,Ibrushinalightlayerofyellowochreandaddabitofredfortherocks.ThenIbrushinpurecadmiumyellowlightforthewater.

Note:Usingplasticwrapservestwopurposesforme.First,Idon’tknowexactlywhattheresultswillbewhenIuseit,soitkeepsthefirststepsofapaintinglooserthanifIsimplypaintedinashape.Second,thetechniquedriesasmottledcolor,andwhenIpaintoveritinwatercolor,thecolordoesnotevenout.Thisaddslayeredrichnessandafree,unstructuredpatterntothetransparentlayers.

Step5.Whenthefirstwashisdryandtheplasticwrapcomesoff,Imixagreenishblueonmypaletteandbrushitlightlyacrosstheareathatwillbethebreakingwave.AgainIcrinkleplasticwrapandpressitdownonthewetpaint.Thiswilllayertheloosepatternsoftheflowingwater.

Whilethegreenpaintisdryingundertheplasticwrap,Ibrushalightcoatofburntumberontherockstodarkenthem.Whiletheburntumberiswet,Itexturetherocksbydraggingtheflatedgeofarazorbladeoracreditcardthroughthepainttosuggeststriationsintherock.(See“SpecialWatercolorTechnique:WaxResistandScrapingforTexture”shownhereandhere.)

Iaddatransparentwashofgreenblueoverthewater.

Step6.Iturnmyfocusbacktothewaves,paintinginabitofbluewashthroughthewater.Ivarytheblues,usinggreentowardthebottomjustastheseaturns

greenwhenitchurns,andcoolerultramarinebluefartheraway.I’mcarefulnottocoverallofmyearlierdelicatebluewashesorthewhiteareasaroundtherocks.IwanttokeepareasoftheinitialbluewashasfreshasIcan.

I’mpleasedbythewhiteareasalongtheedgesoftherocksandthewater.Theyalreadylookliketheyaremovingwiththewave.I’llturnthemintofoamlater.

Ibuildlayersoftextureontherocksandcontrastbetweenthesurfaceoftherocksandthewater.Thoughtheybothstartwithwashesandplasticwrap,Icontinuetoemphasizetheirdifferences.

Usetheplasticwraptosuggesttheflowofchoppywater.

Usetheplasticwraptosuggesttheflowofchoppywater.

Step7.Icontinuetobuilduptextureontherockswithwaxresist.UsingwaxasaresistinwatercolorisatechniquethatwasusedbythemastersJohnSingerSargentandWinslowHomer.Thetrickistouseitsparinglyoritwilldiscolorthepaperintime.Drawwithitlikeacrayonintheareasyouwanttouseit.Ifyoubeardowntoohardandthewaxgoesontoothick,scrapeitoffwitharazorblade.Thentryacolorwashoverthewaxedareaandseewhathappens.(Seehereandhereformoreonthistechnique.)

NowIbegintoaddtheblues.

NowIbegintoaddtheblues.

Step8.Ihavedarkenedonesideoftherockintheforegroundsothatitfeelsweighty.Thisalsogivestherockathree-dimensionallook.ThedarkshadowissimplyastrongermixoftherockcolorsI’vebeenusing.Imightaddalittleultramarinebluetotheburntumberforagood,darkcolor.

Step9.NowIaddloosebluebrushstrokestothewater.Imovemybrushlikeitisthechurningwater,whisperingwaterysoundstomyselfwithoutmeaningto.Eachbrushstrokeisclear.Thewaterseemstospillactivelyandunimpededfromthetoptothebottom.

TherocksfeelheavierandmoresolidwhenIdarkentheside.

Step10.Thepaintingisalmostdone.Itakeawalkaroundthestudio,thumbthroughmymusiccollection,andputonanEllaFitzgeraldCD.MydogLillygetsabiscuitforkeepingthestudiochairwarm.Isitdownandaskmyselfwhatexactlyisgoingoninthepainting?Itrytolookatitwithfresheyes.Whatjumpsintofocus?Aretherocksthemostimportantoristhewaterdominant?Whatareasaremushyanduncertain?Arethevaluesbalanced?Istherearangefromwhitetodark?Aremycolorsclean?

Someartistslookattheirworkinmirrorsorupsidedown.Someusea“recedinglens”whichistheoppositeofamagnifyinglens.Ijusttakeoffmyglasses.Thedetailsdisappearandthelargerdesign,values,andcolorrelationshipsareallIsee.

Thisisasimplepainting.It’saboutrushing,churningwaterandhard-texturedrocks.Thewaterisslightlymoreinterestingthantherocksbecauseofthelovelyblueandgreencolors.Imoveontomaketinyadjustments.

Step11.Aftersomethought,Irewetanareaofthewaterthatistooboldablue.Usingmy#10roundbrush,Idabafewdropsofclearwaterontheblue,counttofive,andthenliftthedropbackupwithmybrushtip.(Usinga“thirstybrush”thiswayisdescribedindetailshownheretohere.)

Gettingclosertocompletion

Step12.Idecidethataddingatriangleofdarkerbluealongthetopcenteredgewilllendmoreofanocean-likefeel.Usingacleanbrush,Iwettheareawithenoughclearwatertositonthesurfacelikeanoilslick.Iputthebluefrommypaletteintothemiddleofthewetspot.Theideaisthatthenewwashofdarkerbluewillspread,darkerinthecenterofthewetareaandlighteralongtheedges,therebyblendingvisuallyintothepreviousdrylayer.

Step13.Istepbacktogainawiderperspectiveonmypaintings.Thelargerthepainting,thefartherawayIwalkback.Distanceallowsmetoassesstheoverallcomposition,values,andcolorsanddeterminewhethertomakeanyfinaladjustments.Iusethedampwatercolorspongetobluranedgeandabrushstrokethatseemtoohard.

Asalasttouch,IdiptheoldtoothbrushintoChinesewhitepaint.Itgoopsonthebristles,whichIflickmyfingeracrosstospritzafinesprayofwhitewheretherocksmeetthewater.Iliketheeffectsomuch,Idipthetoothbrushintotheblueandbrownpuddlesonmypaletteandspraymorecoloracrossthesamearea.Itlooksbetterwhenthesprayisuneven.

Iampleasedwiththeenergyofthesewatercolors.Itistimetodecidewhethertoworkonalargerwatercolorpaintingforexhibitionormovedirectlyintoacryliconcanvas.Ihaveresolvedseveralquestionsaboutwatercolortechniqueandprocess.Ihavesimplifiedmyexperienceintoaclear,brightimpressionoftheoceanwavescrashingontheshoreofNewCastleIsland.

Finishedin-studiowatercoloroftherocksandsea.10"×10"(25.5×25.5cm).

SpecialWatercolorTechnique:WaxResistandScrapingforTexture

Creatingtheeffectoftexturesinwatercolorinvitesyourimagination.Theadvantagetousingthesetechniquesisthattheycreatedetaileasily.Afteryougainexperiencewiththemindividually,youcanusethemtogethersotheyblendintothewatercolorbackgroundandnotechniqueshows.

Alongwithyourpaintsandbrushes,you’llneedawhitewaxcandleandasingle-edgerazorbladeoranoldcreditcard.

Step1.Onourcoast,thegray-brownshorelinerocksconsistofmultiplelayersofroughgranite.Theyhavecoarse,unevensurfacesandoften-distinctivestriationsofquartzordarkerstonerunningthroughthem.

Insettingupmypalette,Ichoosecobaltblue,cadmiumyellowlight,andturquoiseforthewater,andburntumbermixedwithatouchofredfortherocks.Thatgivesmeallthreeprimarycolors.

Threestepsdemonstratinghowtocreatetextureusingplasticwrapandrazorblades.Noticetheprogressionfromlightandloosetowarddarkerandmoredefined—classicwatercolor“lighttodark”approach.

Step2.Imixanundercolorfortherocks—inthiscasealimegreen,likethesummerseaweed.Iblockouttheshapeandpositionoftherocksandletthecolordry.

Step3.Next,IholdthecandlesidewaysandIdrawwithit,makingmarksacrosstherockshapes,followingtheroughcutsandgougesintheactualrocks.Mixingmycolorsintoarichbrownpuddleonmypalette,Iwashthepaintovertherockshapesandthewax.

Step4.Whilethepaintiswet,Idragtherazorbladeortheedgeofthecreditcardacrosstherockstoleavedarkerlinesthatsuggesttherockisrecedingfromtheforeground.AsIdragtheblade,Iholditataslightangle,sothatitpullsthepaintlikeasqueegee.Thisleavestherockslighteratthetopanddarkertowardthebase,astheyareinnature.

Step5.Thetechniquetakespractice,butyouwillbecomemorecomfortablewithiteachtimeyoutryit.HereIhaveletthefirstscrapedlayerdryandrepeatedtheprocess.I’veaddedsoft,wetbluestothewaterandthesideoftherocks.

Step6.OnceIhavetheshapeandtextureoftherocksasIwantthem,Iletthepaintdry.Imaygobackinandadddarkerdetailslater.Noticehowthescrapingallowedthefirstwashofgreentoshimmerthroughthebrowntexture,inthesamewaythatseaweedclingstoactualrocks.

CapturingaMoment

ThereisafamiliartruismthattheImpressionistsweremastersat“capturingamoment”innature.Inaseascapethatwouldcertainlybeachallengewitheachrisingwavefollowinganother,smackingindividualrocksdifferentlyandallatthesametime,sprayingthiswayandthat.

Butofcoursethetruismisn’texactlytrue.TheImpressionistpaintersdidn’tfreezeamomentlikeacamerastilloraJapanesewoodcut.Theyencompassedamoment.Theyblurredtheedges,overlappingmanymomentsintoarichsurface.

Inimpressionism,youcanexperiencethesunlightchangingandthewatersurfaceshifting.Andinpaintinginthisstyleyoushareyourimpressionsofthetime,notjustthemoment,thatyouspentfeelingthepoundingofthewaves,

time,notjustthemoment,thatyouspentfeelingthepoundingofthewaves,smellingtheagingseaweed,andhearingtheslapofthewater.

OceanSurf.Watercolor.22"×30"(56×76cm).

Gallery

ThesepaintingsshowwhatIlikebestaboutworkingoutsidealongtherockyseashore.

WildIslandSea.Watercolor.22"×30"(56×76cm).

Demonstration:PaintingtheRocksandSeainAcrylic

Foamingup

Idecidetostartalargecanvastoseehowthenatureoftheacrylicenhancestheimpressionofthewaterandrocks.Iexpectitwillhaveadifferentfeelingfromthatofwatercolor,asthesurfacetexturesbuildupwithlayersofpaint.

IrememberhearingthatWinslowHomer,oneofthegreatestAmericanwatercolorists,chosetopaintthethunderingrockyMaineCoastatProutsNeckusingheavyoilpaint.Hewasenamoredwiththecollisionoftwoelementalforcesandwantedtoexpressthephysicalweightofthebreakingwaves.Thethickimpastobrushstrokeshewantedwouldnotbepossibletoattainwithwatercolorpaint.

GettingReady

Ingettingmysuppliesreadyforacrylic,Iaddanoldtoothbrushtomybrushesandaheavypapercardaboutthesizeofacreditcardforcreatingtexture.Iwillusethisforscrapingacrylicpaint,thewayIdidwitharazorbladeinmywatercolor.

watercolor.

I’vecollectedanotheroldtoothbrushforthispainting,andhaveastackofplasticlidsforpalettes.I’mequippedwithplasticwrap,papertowels,andanoldkitchentowel.Irinseoutsomeplasticcoffeecansandfillthemhalfwaywithwaterandplacemyjarsofpaintwithineasyreach.

Iselecta30"×30"(76×76cm)cottoncanvas,alreadygessoed,andputitontheeasel.Theassortmentofacrylicbrushes,rangingfrombigsyntheticGoliathroundsto1"(2.5cm)and½"(1.3cm)flatstosmall#1and#00rounds,iscloseathand.

Iwillusecadmiumyellowlight,lemonyellow,titaniumwhite,burntumber,cobaltblue,ceruleanblue,ultramarineblue,andviridiangreen.Ialsohavealittlealizarincrimson,whichisatransparentred.ThisredcanturnthegreensthatImixonmypalettealmostblack.

NOTE:Whenmygoodwatercolorbrushesbecometoofrayedandtiredforuseinwatercolor,Ioftenaddthemtomycollectionofacrylicbrushes.Usingwatercolorbrushesongessoedcanvaswiththecoarseracrylicpaintdefinitelyhastenstheirdemise,butitgivesthemausefulpurposeintheiroldage.

IntheStudio

Step1.Igobackandlookatmyon-sitesketchesoftherocksandwaterthatIdidusingwatercolor.Iamgoingtopaintthesameview,makingadjustmentsasIgoalong.AcrylichasagreatflexibilityandIcaneasilychangethepaintingatanytime.

Ilayinawashofyellowswherethewavewillbeandbrushinbrownsandbluestoestablishmyrocks.Iletthemdry.Itdoesn’tmatterhowthickthepaintisatthisstage,becauseIwillbebuildingupsomeverythickimpastotextures.

Bystartingwiththelightcolorofyellow,Icanconcentrateoncreatingagooddesignbeforeaddingthedramaticvalues.

Istartwithboldgesturestoestablishdesign.

NextIaddlightyellow-greenstobuilduptheshapes.

Step2.Ibegintobuildupthecolorandtextureoftherocks,addinglayersofdifferentbrowns.Whilethebrownpaintisstillfreshandwet,Ipresssomecrinkledplasticwrapintoitandletitsitforafewminutes.Withacrylicit’snotnecessarytoleavetheplasticwraponforalongtime.(Seetheplastic-wraptechniqueshownheretohere.)

Buildingupbitsofcolorandactivebrushworktocreateimpressionofrocktextures

Step3.WhileIletthebrownpaintsetupontherocks,Iturnmythoughtsbacktothewater.Iwanttocreatethefeelingofrealmovementinthewater,soIdoubleloadmypaintbrush,dippingonecornerofthebrushintocobaltblueandtheothercornerintolightceruleanblue.WhenIstrokethepaintontothecanvas,Ipresssomecrinkledbitsofplasticwrapoverthethickpaint.Thecolorsmix

andblendwitheachother.Youcan’tgowrongwiththistechniqueforpaintingwaterifyousticktobluesandgreens.

Doubleloadingmypaintbrushwithvariousblues

Step4.Oncethesecondroundofpainthaspartiallydried,Iremovetheplasticwrapfromtherocksandwaterandpreparetoaddmoretexture.Paintingbackintosemi-wetareasisawet-on-wettechnique.Ihighlightsomeareaswithfreshnewcolor,andblendothers.

Theacrylicispartiallydryontherocksandstilldamponthewater.Iscrapetherockswiththeedgeofthecardtocreateanuneventexture.(Seethescrapingfortexturetechniqueshownhereandhere.)Then,decidingthepatternleftbytheplasticwraponthewateristooobvious,Ismoothitdownwithmybrush.

Step5.Ibuildupricherlayersofcolorinthewater.Topaintthewavesonarockyshore,youneedtore-createthemovement.

Irememberthefeelingofbeingthereattheshore,thesoundofthewavesastheyhittherocks,thehissingastheyslipbackintotheocean,andtheconstantmotion.Eachwaveisdifferent,thelightsparklesandthefoameruptsanddissolvesinaninstant.

Ifindthatinpaintingthewaves,ithelpsifImovemyhandlikethewater.Ithinkaboutthewaythewavespushoutfromthebackofthepaintingspacetowardme,andImakethemhitrocksandswirlaroundthem.Thebeautyofworkingwithacrylicisthatyoucanaddthoselayersofchurningmovementwithcolorandbrushstrokes.Andyouwaituntiltheendtoaddthefoaminghighlights.

RESHAPING

Acrylicallowsyoutochangethingsonceyouputthemdownoncanvas.HereIsketchanewlinetotheedgeoftherock.

Ifillintheareawithblue.

Ifillintheareawithblue.

I’llreworkthebluetoblenditinwiththewater.

Step6.Besuretocleanyourwaterandbrushesbeforeusingwhite.FirstIcovertheareasIdon’twanttosplatterwithscrappaperasashield.Then,makingapuddleofliquidwhitepaintonmypalette,Idipthetoothbrushintothepaintand,whileholdingitabout3"(7.5cm)fromtheareaalongthebaseoftherocks,Isplatterwhite.Takeyourtimeandhavefun.Youcansplatterwhitepaintanywhereinthisdemoanditwillhelpcreatetheimpressionofoceanwaves.Trymakingareasofthickersprayandareasofthinnerspray.

Gettingmessyispartofthefun.

Step7.Acrylicpaintingisdefinitelyamorephysicalactivitythanthegentlewatercolors.Sinkingdownintothestudiochairisabigrelief.Iremembertheexhilarationofstandingontherockswhiletheoceanrumbledaroundme.EverytimeawavecrashedIfeltbothsmallandvulnerableandbraveandwild.Ifeltlikerunningbackhomeandyetmesmerizedandunabletoturnaway.

AsIsitlookingatthepaintingontheeasel,Ilooktoseeifthereareanytracesofthoseconflictingheightenedimpressions.Thebrightnessofthepaintcolorisjoyfullyunrestrained.Thegesturalbrushworkandheavytextureisweightyandyetseethingwithenergy.Theimageissimplified,balanced,butnotboring.Therearewonderfulsurprisesofcolorintherocks.Thewaterflowsthroughtheimageininfinite,transparentlayers.

Afteradayinthestudio,littleLilygetsacuddle.

Step8.Everythinglooksgood.Ifeellikedozingforamoment,butthenIseealittlesomethingthatshouldreallybechangedandjumpuptodoit.Justaswiththewatercolor,thefinalstepisaddingdetailswhereveryouwanttodrawyouraudience’sattention.

Iuseasmallroundbrushandaddgray-blacksquigglestothefrontrock.Iusealittlerockcolortosuggestaglimpseofarockdeepunderthefrothofthe

alittlerockcolortosuggestaglimpseofarockdeepunderthefrothofthebreakingwave.Itaddsmoretransparencytothewater.Yesthat’sexactlytheimpressionoftheoceanandrocksIfeltthatmorningIrodemybikeouttoNewCastleIsland’soceanedge.

Almostfinishedacryliconcanvas,36"×36"(91.5×91.5cm).

Gallery

Hereisanotherviewoftheoceanpaintedinacrylic.

SurfExplosion.Acryliconpreparedpaper.22"×30"(56×76cm).

Conclusion

AfriendofminewholovestoreadbiographiesoncetoldmethatRenoirsaidifpaintingwasn’tfun,hewouldn’tdoit.Alotusfeelthatway.Thatdoesn’tmeanithastobeeasyorobviousorcomeoutthesameeverytime.Infact,that’swhatwedon’twant.It’sfuntopaint.It’swork,butit’sfun.

Theartisticnecessityoflingeringinthegardentolistentothebeesaftereveryoneelsehasgoneinfortea,orwalkingfartheroutonabreakwaterthanyououghttojusttofeeltheocean’ssprayisarichwayofliving.Settingupyourpaletteandpaperandcontainersofwaterandassortedbrushesisagloriouspreludetothemanifestationofcreatingsomething.

Losingyourselfinmakingabrushstrokeandwatchingasitthickensandthins,dripsandstutters,orascolorsmixandsquabbleandmerge,isalevelofsensualawarenessthat’sdifficulttobeat.

Thepaintingwon’talwaysturnoutgreat.Theprocessisanattempttomakewhateveryouhaveputdownbetter.Itwillgetbetter.IthinkIhaveexhaustedpracticallyeverywrongturnandmissedsomanyshotsthatIjustautomaticallyimprove.

Ifeverytimeyoumakeartyoucelebratetheexperienceofseeingandcreating,theendresultbecomesasteponthewaytobecomingbetter.Withthatinmind,Ihopethedemonstrationsinthisbookencourageyoutopaint—and,likeRenoir,tohavefunwithit.

Apeacefulendingtoanislandday

Resources

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DICKBLICKARTMATERIALSP.O.Box1769Galesburg,IL61402-1267800.828.4548dickblick.com

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WATERCOLORPAPERArchesismyrock-steadypaper.Iprefer140lb(300g/m2)brightwhitehotpresspaper,whichIpurchaseinpads,blocks,androlls.

Acknowledgments

IwasthrilledtobeabletowritethisbookandI’mgratefultoeveryonewhopicksitup,thumbsthroughit,andfindsapictureorapagethatcausesthemtopauseandreadmoreclosely.Thankyou.PerhapsthereasonIeventhoughtIcouldwriteabooklikethisistheencouragementofmyhusbandanddaughters,whostickwithmethrougheveryartisticupanddown.

Whenmyeditor,JudithCressy,calledmeaboutbeginningthisbook,Icouldhardlybelieveit.Isoappreciateherguidanceandpatiencethroughouttheprocess.Hergoodhumorandkeeneyemadetheexperienceafunone.Shemadeithappen.IwasalsofortunatetohaveReginaGrenierasmyarteditor;Iadmiretheenergyandartisticsensibilityshebringstoherprojects.

Oneofthemostimportantparticipantsinthisbookhasbeenmyclosefriend,internationallyknownphotographerKarenHill.WehavebeenfriendssinceattendingPrattInstituteintheeighties.Shehasdocumentedmylifewithastoundingphotographs.Iamsogratefulthatshetooktimetohelpmemakethisbookmorethanjusta“howto”project.ThankstoKaren,it’saninspirationalphotographicdocumentofmycreativelifestyle.

Iwouldalsoliketoacknowledgethesupportandencouragementofallmystudents.Iloveteachingbecauseofthem.Ihaveaspecialgroup,theMerrimackRiverPainters,whohavehelpedmedevelopandverbalizemyideaswithaclarityIcouldnothaveachievedonmyown.Iamsogratefulforeverystudent,ofeveryexperiencelevel,whocrossesmypathandrenewsmyfaithinourdesiretocreate.

Thankstoeveryone.Thishasbeengreat!

GreatIslandBeauty.Watercolor.22"×33"(56×84cm).

AbouttheArtist

DustanKnightisaprofessionalartist,educator,andartwriter.SheearnedherMFAfromPrattInstituteinNewYorkandherMAinArtHistoryfromBostonUniversity.ShewasarecipientofaNewHampshireStateFellowshipfortheArts,aMacDowellColonyresidency,andaCummingtonArtistColonyresidency.DustanisrepresentedbygalleriesacrosstheUnitedStates,includingArtThreeinManchester,NewHampshire,theOgunquitArtAssociationinMaine,andAlpersFineArtinAndover,Massachusetts.CorporatecollectionsincludeMacy’s,Oracle,andCoveris.(DustanKnight.com)

Photocredit:KarenHill

AboutthePhotographer

KarenHillisafineartandweddingphotographerandthedirector,withherhusbandFrank,ofKarenHillPhotographyinNewYorkCity.ShegraduatedwithaBFAfromPrattInstituteandanMFAfromtheYaleSchoolofArt,bothinphotography,andhasbeenshootingeversince.Herworkhasbeenseeninpublicationsandonlineweddingsites,suchasMarthaStewartWeddings,theKnot,andTopKnots,StyleMePretty,SnippetandInk,Carats+Cake,OnceWed,andJunebug.(KarenHill.com)

Photocredit:DustanKnight

Index

Italicizedpagenumbersindicateanillustration,photo,oritscaption.

acrylicpaintingcanvasesfor,15,136–137Demonstrations,44–51,82–91,122–131Galleries,92–95,132–133paintsfor,18–19,136–137

Ampersand(company),137Archeswatercolorpaper,15,60

BerryBrook(Knight),23Big,BoldandBeautiful(Knight),83brushes,16–17,123

canvases,foracrylicpainting,15,136–137CheapJoe’sArtStuff,18,136coldpresspaper,15colorschemes,33colorsketching.Seewatercolorsketchingcottonduckcanvas,15

DancingGarden(Knight),52DanielSmithwatercolorpaint,18,137DaVinci(brand),137DayLilies(Knight),56Demonstrationsinacrylic,44–51,82–91,122–131inwatercolor,24–37,58–73,100–119

designsketching,32,63,108DickBlickArtMaterials,136DuckIsland,IslesofShoals(Hassam),13

EarlyIslandMorning(Knight),96EarlySpringMorning(Knight),42

flowers,paintingabout,53–57inacrylic,82–91acrylicgalleryof,92–95inwatercolor,58–73watercolorgalleryof,78–81

Galleriesacrylic,92–95,132–133watercolor,42–43,78–81,120–121

gardenflowers.Seeflowers,paintingGeraniums(Knight),92Goldenacrylicpaint,18,85,137GoldenMelody(Knight),81GreatIslandBeauty(Knight),138

hands,astools,49Hassam,Childe,13Holbeinwatercolorpaint,18,137Homer,Winslow,12–13,98,122hotpresspaper,15,137

ImpressionofNasturtiums(Knight),61ImpressionsofNasturtiums(Knight),78indoorstudiowork.Seestudiowork,indoorIslandTrails(Knight),42

Jerry’sArtarama,136JoyfulGarden(Knight),57

L’AlléedesAlyscamps(vanGogh),11linencanvas,15Liquitexacrylicpaint,18,85,137“listening”toyourpainting,90,114,116,130

MaimeriBluwatercolorpaint,18,137materialsandtools,14–19,136–137M.Grahamwatercolorpaint,18,137Monet,Claude,10–11

MoonlightonPeonies(Knight),79MorningChop(Knight),6,99MorningGardeninJune(Knight),80MorningWoods(Knight),37

NasturtiumImpression(Knight),55Nasturtiums#5(Knight),94

OceanFogAlongtheRoad(Knight),22OceanSurf(Knight),121

paints,18–19,136–137paper,watercolor,14–15,136–137pencilsketching,26–27,32,58–59,102–103,108photography,22,25,58,101plasticwraptechnique,70–72,74–77,86–89,111–112,126PoplarsontheEpte(Monet),10–11

QoRwatercolorpaint,137QueenAnne’sLaceEvening(Knight),93

Rebecca’sFlower(Knight),9TheRedCanoe(Homer),12rocksandsea,paintingabout,97–99inacrylic,122–131acrylicgalleryof,132–133inwatercolor,100–119watercolorgalleryof,120–121

roughpresspaper,15

Sennelierwatercolorpaint,18,137siteselection,25,54,58,100sketchingdesign,32,63,108pencil,26–27,32,58–59,102–103,108value,32,64,109watercolor,28–29,60,104,110

SnowyWoods(Knight),43,141studiowork,indoor

studiowork,indooracrylic,46–51watercolor,30–37,62–73,107–119

SurfExplosion(Knight),132

TangoTulip(Knight),2Techniques,SpecialWatercolorplasticwrap,70–72,74–77,111–112thirstybrush,34–35,38–41,42–43,114waxresistandscrapingfortexture,112–113,118–119

texturetechnique,112–113,118–119,128thirstybrushtechnique,34–35,38–41,42–43,114toolsandmaterials,14–19,136–137OntheTrellis(Knight),55TulipTango#2(Knight),95Turnerwatercolorpaint,18

valuesketching,32,64,109vanGogh,Vincent,11

watercolorpaintingDemonstrations,24–37,58–73,100–119Galleries,42–43,78–81,120–121paintfor,18–19,136–137paperfor,26–27,32techniques,38–41,66,74–77,118–119

watercolorsketching,28–29,60,104,110waxresistandscrapingfortexturetechnique,112–113,118–119,128WildIslandSea(Knight),120Winsor&Newtonwatercolorpaint,18,19,137WoodlandRoad(Knight),20,51woods,paintingtheabout,21–22inacrylic,44–51inwatercolor,24–41

watercolorgalleryof,42–43

AlsoAvailable

BraveIntuitivePainting:LetGo,BeBold,Unfold.ISBN:978-1-59253-768-6

OneWatercoloraDay:A6-WeekCourseExploringCreativityUsingWatercolor,Pattern,andDesignISBN:978-1-59253-857-7

PaintLab:52ExercisesInspiredbyArtists,Materials,Time,Place,andMethodISBN:978-1-59253-782-2

WaterPaperPaint:ExploringCreativitywithWatercolorandMixedMediaISBN:978-1-59253-655-9

IdedicatethisbooktomyMom,whowastheartistItrytobe.

MorningChop.Watercolor.22"×33"(56×84cm).