WATER 101: QUICK TIPS TO MAKE EVERY DROP COUNT!

Painting Secrets
From Artists Around
the World

LIFE
ON THE
STREETS
13 Ideas for
Sketching
in a Crowd

Take to a Famous Spot FALL 2023

Contents FALL 2023

Features
16
A PERSONAL VIEW
Indian artist Prafall Sawant
puts his atmospheric stamp
on the noteworthy sites he
has painted around the globe.
BY SAGNIK BISWAS

24
A FORCE OF NATURE
The untouched beauty of
the natural world is elevated
via the realistic interpretations
of Turkish watercolorist
Rukiye Garip.
BY CHRISTINE PROSKOW

32
32
OF HORSES
AND HUMANS
American artist Don Weller
brings a sense of yesteryear’s
romanticism to scenes of
contemporary cowboy life.
BY MICHAEL CHESLEY JOHNSON

40 48 56
MINIMAL MARKS, THE LANGUAGE FAST & LOOSE MEETS
MAXIMUM IMPACT OF FLOWERS SLOW & STEADY
Through his use of thoughtfully English artist Suzy Fasht speaks An intense dedication to plein
austere brushwork, Spanish the dialects of three distinct air sketches and studies sets up
artist Luis Cámara enlivens media for blossoming florals Singapore’s Woon Lam Ng for
coastal villages and still lifes. and blooming gardenscapes. painting success.
BY ALLISON MALAFRONTE BY TIM SAUNDERS BY ISABELLE V. LIM

ArtistsNetwork.com 1
 Columns
3 EDITOR’S NOTE
Art: the universal language
BY ANNE HEVENER

4 HAPPENINGS
Fabriano InAcquarello 2023
and “Watercolors Unboxed”
BY CHRISTINA RICHARDS

6 ANATOMY OF
A PAINTING
Realist Thomas Eakins gifts
a unique work to a mentor.
BY JERRY N. WEISS

8 CREATIVITY
WORKSHOP
Capture the character
of your hometown with
sketches.
BY KAREN MAI

12 BURNING QUESTION
What’s your best advice for
painting a famous site?

64 WATERCOLOR
ESSENTIALS
Tap into five ways to get
8
the most from your H2O.
BY SAGNIK BISWAS

72 OPEN BOOK
Move beyond traditional
colors to add life to portraits. ON THE COVER
BY CAROL MCSWEENEY Global Vision 16, 24, 32, 56
Life on the Streets 8
Painting a Landmark 12

Top Light at Bologna, Italy

Get Social (detail; watercolor on paper, 13¾x17¾)

by Prafall Sawant
@ARTISTSNETWORK

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2 Watercolor artist | FALL 2023

 Editor’s Note
O
EDITOR-IN-CHIEF Anne Hevener
ne of the many won-
SENIOR EDITOR Beth Williams
derful things about
art is how effectively MANAGING EDITOR Christina Richards
it can express a feeling, commu- DESIGNER Rachel Kennedy
nicate an idea, even tell a story
without the burden of language. BUSINESS
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and line—participate in meaningful conversation.

In this issue, we went to various corners of the
globe to touch base with artists who are using water-
media to convey their individual encounters with the CHIEF EXECUTIVE OFFICER Jeffrey Litvack
world. Our featured artists will take you behind the
CHIEF SALES OFFICER Farrell McManus
garden walls of England; to the hillside villages of the
Mediterranean; to the vibrant markets of Singapore CHIEF CONTENT OFFICER Kate Lee Butler
and Hong Kong; onto the sunny streets of Jodhpur,
CHIEF INTEGRATION OFFICER Nicole Woods
India; beside shimmering Turkish waterways; and
along the dusty trails of the American West. Through CHIEF MARKETING OFFICER Kim Greenlee
these subjects, you’ll experience their reflections on
VP, STRATEGY Andrew Flowers
beauty, nostalgia, wonder, gratitude and other univer-
sal ideas—no translation required. NEWSSTAND SALES Ron Murray
[email protected]

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ArtistsNetwork.com 3
 Happenings

/ WATERCOLOR WORLD /

Fabriano InAcquarello 2023

The 2023 conference took place
in Bologna from April 23 to 25.
Subsequent “painting holidays” were
held in Venice, Florence, Verona and
the Umbria region from April 25 to
May 2, and the watercolor exhibitions
ran in Fabriano through July 3.
As always, the exhibitions included
juried selections from 80 participat-
ing counties. Each country has its
own method for selecting its repre-
sentative artists. Most countries are
alloted 20 exhibition spots, although
large countries with many artists may
display more paintings. For exam-
ple, the U.S. displayed 45 works of
art in the show. Most were created
by members of the online platform
International Watercolor Museum
(internationalwatercolormuseum.
com), although other top artists also
submitted work.
Fabriano InAcquarello’s mission
is to be inclusive of all artists, non-
competitive and not-for-profit; it’s
an opportunity for discussion and
motivation to learn techniques and
creativity. The aim is the promotion
of watermedia artists and of painting
techniques on paper, with a strong
A group painting session in the town square of Fabriano is an annual tradition at Fabriano InAcquarello. focus on innovation and involve-
ment of younger generations. More
than an art festival alone, Fabriano
Every year, art enthusiasts from themselves in the world of watercolor, InAcquarello is a vibrant community
around the globe gather in the pic- exchange ideas and connect with like- that fosters a deep appreciation for
turesque town of Fabriano, Italy, minded individuals. the timeless beauty and expressive
for the highly anticipated Fabriano This year’s events took place in power of watercolor.
InAcquarello. One of the biggest both Bologna and Fabriano. The town “Fabriano InAcquarello is all about
international events for watercol- of Fabriano (where manufactured sharing and showing respect for every
orists, Fabriano InAcquarello is a paper was introduced to Europe in artist,” says Laurin McCracken, the
gathering for artists, organizations, the 13th century) has only 200 hotel event’s Country Leader for the United
art materials manufacturers and any rooms, but the event draws more than States. “Artists come to Fabriano to
other individual or entity associated 2,000 attendees. To better accommo- see thousands of top paintings from
with watercolor—all eager to share date its growing audience, most of the around the world, as well as scores of
PHOTO BY LAURIN MCCRACKEN

their collective knowledge. daily events were moved to Bologna, demonstrations from an international
The gathering features captivating in 2019. On the last day, however, selection of master artists—but they
exhibitions, inspiring workshops attendees have the opportunity to also come to make new friends and
and interactive demonstrations by travel to Fabriano to relive their past reconnect with old ones.”
renowned watercolorists. Visitors experience there or see the medieval Visit inartefabriano.it to learn
have the opportunity to immerse town for the first time. more about the event and festivities.

4 Watercolor artist | FALL 2023

New + Notable
/ ON THE SHELVES /
The Best of Watercolor: Splash 24 [$14.99]
The latest edition of the annual Best of Watercolor magazine is
here, featuring the winning entries in the Splash 24 Watercolor
Competition. Included in this much-anticipated showcase
publication are more than 100 top-of-the-line contemporary
watermedia artworks with comments about methods, materials
and inspiration by their creators. As Juror of Awards Jean Haines
says, “Both the subject matter and approach to the medium on
display in the paintings submitted to this year’s competition were
as diverse in range as they were outstanding in quality.” Available
on newsstands, or visit artistsnetwork.com/store.

/ MUST-SEE SHOWS /
WORCESTER ART MUSEUM ANNOUNCES
NEW EXHIBITION: “WATERCOLORS UNBOXED”

The Worcester Art Museum (WAM), in Worcester,

Mass., presents an exploration of 75 years of water-
colors, from 1880 into the 1950s, through exceptional
examples of the medium. “Watercolors Unboxed,”
which opened on June 30, offers a rare opportunity to
view 50 light-sensitive works painted by iconic water-
colorists alongside outliers of the medium.
Drawn from WAM’s internationally renowned
collection of watercolors, the exhibition begins with
a selection of 19th-century European artists who
influenced what would become a favored American
art form. Among the 50 works are paintings by Childe
Hassam (1859–1935), Winslow Homer (1836–1910),
Crab Fishing (1883; watercolor and opaque watercolor over graphite on
Rockwell Kent (1882–1971) and John Singer Sargent wove paper, 37⅓x56½) by Winslow Homer
(1856–1925). The exhibition also features works by
BEQUEST OF GRENVILLE H. NORCROSS. 1937.13
artists lesser known for their use of watercolor and
gouache, including Amedeo Modigliani (1884–1920),
Gustave Baumann (1881–1971) and Ernst Ludwig
Kirchner (1880–1938). been on display since the 1980s. “Watercolors Unboxed”
Because watercolors are especially susceptible explores significant themes in the American watercolor
to damage from overexposure, the show is a rare tradition, demonstrating how American artists embraced
opportunity to see some of the most prized works the medium as a way to elevate the landscape genre. The
in the museum’s collection, many of which haven’t exhibition runs through September 10, 2023. WA

ArtistsNetwork.com 5
 Anatomy of a Painting

“A Pupil Such as You”

THOMAS EAKINS gifts a work to his Parisian instructor.
By Jerry N. Weiss

I n 1870, after five years of study in

Europe, Thomas Eakins (American,
1844–1916) returned to his home-
town of Philadelphia and set up shop
as a professional artist. Choosing sub-
John Biglin in a Single Scull
(1873; watercolor on paper,
16⅞x2315⁄16) by Thomas Eakins
YALE UNIVERSITY ART GALLERY; GIFT OF PAUL
MELLON, B.A. 1929, LHDH 1967, IN HONOR OF
jects drawn from his own experiences, JULES D. PROWN, THE FIRST DIRECTOR OF THE
YALE CENTER FOR BRITISH ART; 1998.61.1
Eakins sought to utilize what he had
learned about constructing a composi-
tion and painting the human figure.
Two themes particularly interested
him: portraits of friends and family,
and sporting scenes that featured the His first major canvas showed Schmitt,
figure in motion. He painted the por- painted in razor-sharp focus, rowing on
traits using a dark palette, bringing the Schuylkill on a clear day. Over the
a quiet intensity to the subjects. next few years, the Biglin brothers
Although the sporting scenes intro- became his preferred rowing models.
duced the landscape, Eakins painted In one series of works, Eakins stud-
them in his studio, using color studies ied John Biglin rowing under strong
as references for the populated images. sunlight. Biglin is seen in profile, his
As a student, Eakins had shown arms extended at the end of a back-
little interest in Impressionism or the ward stroke. The artist sent the Yale
academic art of the French Salon; his watercolor, John Biglin in a Single Scull,
realism was dictated by a personal to Jean-Léon Gérôme, his former
vision that was stubbornly immune teacher in Paris. Gérôme wrote back,
to fashion. Soon after returning home, “Your watercolor is entirely good, and
he embarked on a series of works unlike I am very pleased to have in the New
those anyone had done before, by World a pupil such as you who does
painting rowers on the Schuylkill River, me honor.” WA
in eastern Pennsylvania. An amateur
rower, Eakins knew accomplished Jerry N. Weiss is a contributing writer
oarsmen such as Max Schmitt and for fine art magazines. He teaches at
the brothers John and Bernard Biglin. the Art Students League of New York.

“His work speaks in the direct sensory language

of form and color, texture and pigment.”
—LLOYD GOODRICH

6 Watercolor artist | FALL 2023

 John Biglin in a Single Scull was preceded by several Eakins’ watercolors were as carefully plotted and
preparatory works. A drawing much larger than the executed as his oils. His images are comprised
watercolor was done as a perspectival study—this wasn’t of a multitude of small brushstrokes. The
unusual, given Eakins’ interest in science and mathematics— scrupulous fidelity to visual fact is leavened by
and a small oil painting focused on the rich colors of Biglin’s a lightness of touch and the luminous white
figure and the water reflections. Eakins also made a replica paper that shows through the transparent
in watercolor, now in The Metropolitan Museum of Art, which colors. John Biglin in a Single Scull shimmers
suggests his satisfaction with the painting. with an impression of summer heat.

Eakins’ attention to preparation and detail extended to the study For all his scientific meticulousness,
of reflections on water. “There is so much beauty in reflections,” Eakins’ work is rarely dry. As explained
the artist wrote, “that it is generally well worthwhile to get them by his biographer Lloyd Goodrich, “His
right.” He could have been describing the phenomenon we see in understanding of reality was not merely
this painting. “Everyone must have noticed on the sides of boats intellectual, but deeply rooted in the
and wharves or rocks, when the sun is shining and the water in senses. His work speaks in the direct
motion, never-ending processions of bright points and lines, the sensory language of form and color,
lines twisting into various shapes, now going slowly or in a stately texture and pigment.”
manner, then dancing and interweaving in violent fashion.”

ArtistsNetwork.com 7
 Creativity Workshop

In the
Market
Try these 13 practical tips
les.
for sketching bustling locales.

By Karen Mai

I love sketching thriving city market

scenes and, luckily for me, my home ci ity
city
of Hong Kong boasts a great variety of
vibrant open-air shops, sidewalk stallss
and indoor markets. Each business off ffersr
unique characteristics that reflect nott just
justt
the location, space, and foods and waresress
ab
for sale, but often the shopkeeper’s hab- b- I like that this shop’s entrance serves as a visual frame, and the
its and personality, too. I find that thee produce hangsas natural decoration. The image at the top
(watercolor and pencil on paper, 7½x11) is a 15-minute small study on
busy marketplace is one of the best places hot-pressed paper. The sketch above (watercolor and penon paper,
to observe, appreciate and sketch local 12x14) is a more detailed version on cold-pressed paper. It’sfun to use
life in full swing. the same scene to experiment with time frames and material.

8 Watercolor artist | FALL 2023

 OPPOSITE, FAR LEFT With all of that atmospheric excitement, though,
Among the busy comes the challenge of quickly sketching the environs.
crowd at a street
market, it’s the sweet
It can be difficult to focus on the scene at hand because
of interruptions from curious passersby, the jostling
Sketch Smarts
sight of the couple • Streamline your painting
supporting each of crowds or the heads-up warning of a delivery person, toolkit. Pack just the
other that draws me not to mention the sheer abundance of subject matter. essentials to maximize
to create a sketch Sketching open markets and populated cityscapes isn’t efficiency and space. (See
(watercolor and pen “In the Bag,” page 11.)
on paper, 11x15). for the faint of heart (or the agoraphobic), but it’s well
worth the effort for such lively painting fodder. • Limit your palette.
Select paint colors that
The following 13 tried-and-true tips, street-tested by allow for a wider range of
me, may be helpful in achieving sketching success when mixing possibilities, such as
capturing crowded—and visually complex—scenes. Hansa yellow light instead
of Hansa yellow deep.
• Bring a covered water
FOCUS ON WHAT INTERESTS YOU. container that features
I’m attracted by all sorts of subjects at the market— two or three separate
the bright colors of the produce, the elegant shapes of compartments. A single-
cast shadows, the facial expression of the shopkeepers. source solution saves space
One stall can offer endless selections; my task is to and simplifies your setup—
and prevents the possibility
decide what I want to sketch and paint. The same stall of spills if you should need
can be sketched from different angles at different times to move locations.
of the day in different seasons. It’s important to scan • Find a comfortable spot.
the environment and then fine-tune your subject. Outdoor staircases and
recessed entrances of
nearby buildings are great
out-of-the-way spots for
observation and sketching.
I enjoy capturing • Create quick thumbnails
small, ordinary
to plan your composition.
moments, like a
shopkeeper snoring,
Use them to plan what to
lost in thought, include, including the use
enjoying a sip of of white space.
coffee or staring into • Take the time to do a
space. Notice that strong underdrawing.
the objects This foundation makes it
surrounding the easier to add colors later.
ruminating I prefer to use a ballpoint
shopkeeper in this pen instead of a pencil for
sketch (watercolor my underdrawing, because
and pen on paper, the pen doesn’t smudge or
12x8) merely require sharpening.
suggested and fade
into the white space.

ArtistsNetwork.com 9
 Creativity Workshop

RIGHTT
In this on-site sketchh
of a dried seafood shop p
(watercolor and pen on n
paper, 11x11), I featured
d
the shop cat instead of
the shopkeepers. I hopee
this serious-looking g
guard didn’t mind d
being sketched! d!

BELOW
W
I was intrigued by thee
attentiveness of thee
woman at work in her er
stall. The white spacee
surrounding her in thisis
painting (watercolor and d
pen on paper, 12½x10)
0)
leads the eye to her workrkk
on the table. Leavingg
loose and evenn
unfinished edges on thee
boxes and bins helps
pss
lead the eye and connect ctt
the shapes with thee
white space.
e.

SIMPLIFY, SIMPLIFY,
SIMPLIFY.
Once I determine the focus, there are
still numerous objects in my line of
sight. I create a makeshift viewfinder
by squinting my eyes to simplify the
details, and then I sketch the big
shapes and connect shapes in similar
colors and values.

BUILD IN WHITE SPACE.

One can say more with less. White
space not only saves time, but also CHOOSE THE DOMINANT
MINANT
helps create focus. What can be left LIGHT SOURCES.
out isn’t just limited to distant stalls, As if the scene’s challenges weren’t
wer
eren
en’t
en ’t eenough,
noug
no ugh
ug h m
marketplaces
arke
ar ketp
ke tp
pla
lace
ace
cess
figures or shelves; objects in the fore- and cityscapes are usually lit by lighting of various types
ground can be omitted, too, if they from all directions. If it’s an outdoor market, there’s also
don’t contribute to the story or natural light to consider. The light may be different in
improve the composition. I plan and terms of brightness and color temperatures, so I choose
envision the shape of the resulting to concentrate on the major light sources and mentally
negative space before sketching. “dim” the others.

10 Watercolor artist | FALL 2023

 I sketched the same
vegetable stall from
different angles—and
with a different focus—on
cold-pressed (left; water-
color and pen on paper,
10x12½) and hot-pressed
paper (below; watercolor
and pen on paper,
12½x10). In both cases,
I paid attention to the
overall shape of the
objects and figures
versus the white space.

LIVEN UP SKETCHES PRACTICE BOTH

WITH FIGURES. ON LOCATION AND
I usually can’t resist the temptation IN THE STUDIO.
to add people to my sketches. After When I’m on-site, I’m usually busy
all, markets are places where people observing the ever-changing gestures
gather, so they’re ideal locales for and light, and trying to see through
people watching. Besides shoppers the windows of the cars that inevita-
bargaining over prices, I get to see bly park in front of my chosen subject.
shopkeepers on break, people joking Adaptability is key! Once home, with
with each other and families strolling photo references and sketches on In the Bag
along. It offers a glimpse of daily life. hand, I have more time to consider
I pack lightly for plein air
And who says only human figures the composition, select elements from sketching at the marketplace
should be included? A shop cat is a multiple images and incorporate them and other busy sites so that
prevalent sight in many traditional into one scene to tell a better story. I can be nimble and focus on
shops in Hong Kong, as it’s believed These skills are indispensable, so the scene. Here’s what’s inside
that they protect store goods from I’m open to both ways of sketching. my on-the-go bag:
mice and attract wealth, so cats (and Whether you’re sketching at a
• A4 or larger watercolor
other unexpected subjects) are a wel- street market on a busy sidewalk, an pad (cold-pressed, hot-
come addition to a sketch. out-door concert in the park or a café pressed or rough paper)
in the city square—or interpreting • Black ballpoint pen
what you observed once back in the • Watercolor palette with
studio—I hope you find delight in the tube paints
KEEP THE world around you. WA • Mop brushes, flat brushes
and a small pointed brush
COLORS FRESH. Karen Mai, of Hong Kong, is a Signature • Water container featuring
When adding washes en plein air, two or three separate
I aim for one wash for the light area Member of the American Watercolor
compartments (and
and one for the dark—or just one Society and the National Watercolor water, of course!)
wash in total, if the lines are thick. Society. Her work can be seen on • Paper towels
This also helps speed up the sketch- Instagram: @karenmai.art and on
ing process. karenmaiart.com.

ArtistsNetwork.com 11
 Burning Question

What’s your best

advice for artists
when painting
a famous scenic
view or landmark?

Anne McCartney
Often artists are so concerned with
portraying an exact replica of a land-
mark that they forget to make the
piece their own. When a landmark has
already been painted many thousands
of times, it’s important to make your
own interpretation distinct. Remember
to include the key elements that make
the particular subject recognizable, and
then have fun with the rest. Be creative
and make your painting uniquely yours.

Cascades
(watercolor on paper, 27x12)
by Anne McCartney

12 Watercolor artist | FALL 2023

Alvaro Castagnet
Strive to capture the essence of the landmark
and convey its emotional impact. It’s not enough
to simply replicate the physical features; artists
must also consider the atmosphere, the lighting
and the feelings that the landmark evokes. Take
time to research the subject, immersing yourself
in its history, culture and symbolism. Consider the
possible perspectives, angles and techniques that
will best convey your creative vision. Finally, always
stay true to your own artistic style and intuition,
and don’t be afraid to experiment and take risks.
With patience, practice and dedication, artists can Flinders Street Station,
create truly captivating and memorable works of Melbourne, Australia
(watercolor on paper, 14x22)
art that embody the spirit of a famous landmark. by Alvaro Castagnet

ArtistsNetwork.com 13
 Burning Question

John Salminen
When people think of Paris, the Eiffel
Tower is an icon that immediately
comes to mind. Countless artists have
capitalized on its popularity and,
while the structure is truly magnificent,
it has also become a visual cliché.
Still, like so many artists before me,
I, too, was drawn to its scale and
beauty. The challenge was to bring
something new and fresh. Realizing
that part of the tower’s appeal is its
massive size, I also knew that the scale
would be difficult to capture. With
these challenges in mind, I determined
that I needed to back away, including
the tower in the setting in a way that
Paris Evening (watercolor on paper, 25x31) by John Salminen created a fresh, relatable perspective.

Tim Wilmot
Painting a famous landmark
can be daunting. These
subjects are often complex,
making it challenging to
capture them accurately in
a painting. To avoid over-
whelming your painting with
detail, simplify the scene by
focusing on the essential
features. This will help you
create a more dynamic and
impactful painting. You want
to do a good job representing
the building, or scene, but
keep in mind: Ultimately, you’re
creating a piece of art. So, get
loose and be expressive! WA Pont Saint Georges Perigueux (watercolor on paper, 11x15) by Tim Wilmot

14 Watercolor artist | FALL 2023

 8ET-RXS=øV8EPIRX
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16 Watercolor artist | FALL 2023
Last Light at Grand Palace Abudhabi
Commissioned by Rami Al Kilani, Jordan (361⁄5x48)
is a large-format watercolor painting. Sawant
demonstrates how the fluidity of watercolor can
be used to bring out the magic of sunlight.
ALL RIGHTS RESERVED TO WWW.IMAGEANATION.COM. COLLECTION,
ABU DHABI GOVERNMENT.

By Sagnik Biswas

ART IS SAID TO BE THE COLLECTIVE

MEMORY OF SOCIETY WITH ARTISTS
EXPRESSING HOW IT FEELS TO EXIST
IN A PARTICULAR TIME AND PLACE. IN
PRAFULL SAWANT’S ATMOSPHERIC
WATERCOLORS, HE DOES EXACTLY
THAT, SHARING HIS IMPRESSIONS OF
THE MANY CORNERS OF THE WORLD
THAT HE ENCOUNTERS.

B orn in 1979, in Nashik, in the state of Maharashtra,

in western India, Prafull Sawant was drawn to a life
in art. As early inspiration, three things mattered to
him most: the continuous encouragement of his father,
artist Bhimraj Sawant; the fluid watercolors of artist
Vasudevrao Govind Kulkarni, the founder of Nashik Art
College, where Sawant studied; and the quiet back streets
and old temples of Nashik, which have provided an end-
less supply of subjects for his plein air landscapes. Sawant
fondly remembers the period of time when, in the early hours
of the morning, he and his friend Ambadas Nagpure could
reliably be found painting en plein air in the Godaghat region
of that ancient holy city.

ArtistsNetwork.com 17
 WORKING IN WATERCOLOR the quality of the surface plays a major The artist’s emotive landscapes and
Sawant developed an interest in water- role in a painting’s success. And yet, portraits are, according to the artist,
color after encountering the paintings the benefits of the medium more than “nothing but abstract compositions
of Vasudev Kulkarni and Shivaji Tupe, compensate. “In watercolor,” he says, of shapes and tonal values, creating
another famous Nashik artist, early in “one is guided by an inner feeling that a push-pull effect in order to move
his career. He discovered the potential drives spontaneity and assists in mak- a viewer’s eye around the painting.”
for layering in watercolor from study- ing creative choices.” Magnificent Light at Jodhpur (below)
ing the works of watermedia masters Additionally, he loves how an entire is but one example of how an under-
like William Russell Flint and John painting remains active with washes lying abstract structure provides
Singer Sargent. Now his principal throughout the painting process. a compositional foundation.
medium, Sawant identifies the trans- “This poses a challenge every moment While mixing color on paper,
parency and fluidity of watercolor to control what is in front of me,” he Sawant is mindful of the granulating
as the main attractions. His initial says, “requiring high concentration colors that tend to settle in the paper’s
excitement for the medium has since and energy.” tooth, which can create wonderful tex-
become an enduring attachment. ture. It’s but one of the multitude of
Still, believing that an artist must effects possible in watercolor that he
be versatile in both subject and medium, THE LURE OF THE LIGHT appreciates and makes use of.
Sawant has also worked successfully in Sawant doesn’t intend for his paint- More than anything, it’s Sawant’s
oil, acrylic, soft pastel and charcoal. ings to be straightforward represen- aim to capture the special character
“In oil, I can make huge paintings,” he tations of objective reality. Rather, and magical quality of the light—
explains, “which is more difficult in an external stimulus—be it form, however complex or disguised it may
watercolor.” He further notes that water- shape, value or color—drives him be—by carefully modulating the tonal
color requires a lot of advance planning toward creative expression, chiefly, values in his paintings that has earned
as corrections can be challenging, and his interpretation of the light. him the moniker “master of light.”

18 Watercolor artist | FALL 2023

 LEFT
In Top Light at Bologna, Italy
(watercolor on paper, 13¾x17¾),
Sawant builds a feeling of strong
sunlight in the middle-foreground
by creating high contrast between
that area and the adjacent shadow.

BELOW
Afternoon Light at Bologna, Italy
(watercolor on paper, 14x14) is the
finished outcome of a plein-air
demonstration at the Fabriano
InAcquarello event, in Bologna, Italy,
this past April. In an effort to convey
the scale, Sawant included people
on the street, establishing a stark
contrast with the massive tower.

OPPOSITE
Sawant’s use of an underlying
abstract design can be seen at work
in compositions such as Magnificent
Light at Jodhpur (watercolor
on paper, 22x30). He conceived
the scene as an arrangement of
shapes, including the white of the
paper (seen on the house in the
background) to denote sunlight. He
used large fluid washes to capture
the effect of sunlight falling on
architectural forms. The artist
uses tonal contrast throughout
the painting for visual interest, but
places the highest contrast near
the focal point for maximum impact.

A COMPOSITION OF BUILDINGS
Inherent in the painting of a sweeping cityscape
are the challenges of composing architectural
forms. “Each place has its distinct style and pattern
of buildings,” Sawant says. “Although it’s relatively
easy to master the architecture of your own local-
ity, painting urban scenes around the world—
which are vastly different in character and mood—
requires a solid understanding of perspective and
abstract design.” As an example, Sawant refers to
a recent demonstration painting, Afternoon Light
in Bologna (right), that he did in Bologna, Italy,
and the difficulty of composing the iconic Asinelli
Tower. He decided to use scale—with the presense
of minuscule human figures in the foreground—
to denote the structure’s massive size.
To his mind, what helps the most to convey the
sense of a place is sharp observation and an effec-
tive color palette. Sawant—unlike painters who
prefer to work with a consistent, and somewhat
limited, color scheme—will vary his palette as
needed in order to bring out his vision of each
subject. See Evening Ambiance of Banaras (page 21),
for example. “If nature has given us so many shades
to choose from,” he asks, “why should I shy away
from enjoying the bounty of an unlimited palette?”

ArtistsNetwork.com 19
 WORKING OUTSIDE “Art is like an ocean …
A COMFORT ZONE I’ll need several lives to experience it.”
Even after 48 international
awards, more than 80 exhi- —PRAFULL SAWANT
bitions and a schedule that
keeps him on the road six to
seven months of the year,
teaching workshops in venues
around the world, Sawant
continues to resist landing in
a comfort zone. The artist is
committed to experimenting
with technique in an effort
to make continuous progress.
“Whatever I accomplished
last year, I’ll try to advance
one step further this year,
and then one more step the
year after,” he says. The artist
believes that painting is like a
river and the flow should never
stop. If artists stop growing—
if they rest too long in a com-
fort zone and cease to reinvent
themselves—they risk becom-
ing listless, like stagnant water.
The closest Sawant comes
to a comfort zone is in his
choice of tools. He relies on
Daniel Smith watercolors and
is a global ambassador for the
brand. The company, in fact,
offers a Daniel Smith Prafull
Sawant Master Artist set
of paints.
For paper, his preference
is Arches rough. He enjoyed
Indian-made brushes until
2014, when he took part in
an invitational program in
Suzhou, in Eastern China, and
was introduced to the Chinese
goat-hair calligraphy brushes.
He fell in love with them and
now has his own signature
brand of Chinese brushes.

The character of the light

plays a significant role
in Sawant’s portraiture, as well
as his landscape work, as seen
in Devotee (watercolor on
paper, 22x14½).

20 Watercolor artist | FALL 2023

LEFT
Sawant extends his attention
to design to portrait work as well,
which is evident in Ambiance of
Meditation (watercolor on paper,
14x22). The artist’s placement of
a second figure in the background
creates a shape that enhances and
further develops the principal form
of the primary subject.

BELOW
Sawant expands his palette as
necessary to capture the desired
atmospheric effects. “Variety in
paintings is my spice of life,”
he says. In Evening Ambiance
of Banaras (watercolor on paper,
14x22), he created the appearance
of smoke by deftly lifting color in
the wet wash.

ArtistsNetwork.com 21
Meet the Artist RIGHT
Tonal variation is
another important
Prafull B. Sawant (prafullsawant.com), consideration.
of India, is well-known for atmospheric Evening Ambiance
landscapes and cityscapes, painted en of Venice
plein air. The artist is in high demand (watercolor on
around the world as a demonstrator, paper, 15x22½) is a
workshop instructor, juror and lecturer. low-key painting
His work has been included in numerous that uses dark
international exhibitions, including values to capture
prestigious invitational events in France, the light and mood
Russia, China, Italy, Peru, Malaysia, of the city at dusk.
Türkyie and Thailand, among other
BELOW
countries. He has earned many awards Sawant prefers
not only for his watercolors, but also for working en plein air
his acrylic and oil paintings. His paintings and has painted in 22
are part of private and public collections countries to date.
throughout the world, and have been Here, he works
featured in a variety of arts publications. alongside the famous
canals of Venice.

ON THE GLOBAL STAGE

Throughout his career, Sawant
has preferred painting en plein
air. “Right from the start,” he
says, “during my early days of
painting in Nashik, Banaras and
Rajasthan, in India, I’ve loved a
face-to-face confrontation with
the light.”
Nowadays, the artist’s exten-
sive international travels present
an array of diverse conditions
for plein air painting. In India,
he explains, conditions are drier
than other countries and washes
of watercolor dry very fast. Whereas The artist feels gratitude that he awareness of art and offer much-
in China, for example, washes take has had the opportunity to paint needed exposure to the budding
much longer to dry and, therefore, in these varied conditions—and the artists of tomorrow.
one will see fewer brushstrokes and chance to experience and observe the In the meantime, Sawant will
more fluidity. wonderful diversity of the world. continue teaching and painting,
Similarly, the experience of light- Knowing how art has enriched his creating pieces that compel viewers
ing conditions are also completely own life, Sawant would love to see to explore the still-undiscovered
different from place to place, and a wider segment of society be able to possibilities of meaning in represen-
from season to season. In a European enjoy engagement with the arts. “Art tational painting. WA
summer, for instance, the sun may should become a way of life for all,” he
set around 10 p.m. “As it gets darker, says, “rather than remaining a luxury Contributing writer and artist Sagnik
the shadows become longer,” Sawant for a few.” To that end, he nurtures a Biswas (paintpaperbrush.com) is based
says. “To capture that effect in a dream of establishing an art museum in Mumbai. His work has shown with
painting requires careful observation in his hometown of Nashik through the National Watercolor Society and
and skill.” which he could encourage greater the Bombay Art Society.

ArtistsNetwork.com 23
by Christine Proskow

A DEEP CONNECTION WITH THE

ENVIRONMENT INSPIRES TURKISH
ARTIST RUKIYE GARIP TO CREATE
SPARKLING, SUNLIT PAINTINGS
OF THE NATURAL WORLD IN ITS
UNTOUCHED, PRISTINE STATE.
N ature’s beauty delights us to be sure, and its
life-giving energy, sustenance and meaning
are vital for our existence in this world.
Rukiye Garip recognizes how important it is that
various elements of the natural world interact in
balance and harmony. It’s a concept that underlies
all her watercolor works—a reminder, she says, of
“the essential fertility of clean water, air and soil.”
The stones, trees, water, sparkling reflections and
clear sky that she portrays—all sensitively done in
a crisp, highly realistic style—find perfect repose
in the artist’s luminous, soothing compositions.
“Maintaining the natural life cycle and its bal-
ance is important for all living things,” says Garip.
“I wish to convey in my paintings the serenity and
calmness I feel when I’m in a natural setting. In
our fast-paced cosmopolitan lives, nature offers
a healing power that’s often disregarded. I seek
to offer people a sense of relief and a moment to
breathe by painting realistic scenes of the natural
world in its purest state.”
Garip’s love of nature encompasses her rever-
ence for its “power and fertility.” She’s fascinated
by nature’s diverse interactions, along with its
countless symbiotic relationships, as explored in
paintings such as Autumn Reflections 1 (opposite)
and Autumn Reflections 2 (left), both part of her
“Autumn Reflections” series. “The textures, nat-
ural elements and details that I incorporate in
my paintings reflect the continuous interactions,
change and transformation occurring within
nature,” she says.
One of the places Garip visits regularly is
a local wooded area that’s near her home in the
city—a natural sanctuary that provides artistic
inspiration and respite. “Autumn’s warm colors
and changing leaves serve as a potent reminder
of the constant process of transformation,” says
the artist. “The colorful fallen leaves in the water,
Despite residing in the heart of the city, Garip has access to a woodland near
her home. It was the source of inspiration for her “Autumn Reflections” series, which mirror the trees and sky above, emphasize
including Autumn Reflections 1 (opposite; watercolor on paper, 30x22) and the cycle of life, while the overall scene suggests
Autumn Reflections 2 (above; watercolor on paper, 30x22). feelings of peace, calm, sympathy and sharing.”

ArtistsNetwork.com 25
 Fish (watercolor on paper, 30x22) from Garip’s “Stony Creek” series,
was inspired by the stream where the artist and her twin sister played
as children. Her rendition depicts the water as clear and clean with
swimming fish. “I wanted to immortalize the place in the way that I
remember it from my childhood,” says Garip.

LEFT
Seashore and Seagulls (watercolor on paper, 19x14½)

FINDING WATERCOLOR its mirror-like reflections make regular she says. “Since then, watercolor has
Garip grew up in the small town of appearances in her work, indicating become an indispensable passion for
Bartin, Türkiye (Turkey), located near a deeper impetus for Garip’s fascina- me. I love the medium’s unpredictabil-
the Black Sea. Already avidly painting by tion with the subject. ity and the excitement and intrigue
the age of five, she recalls that she and Although charged with a bud- that each brushstroke brings.”
her twin sister enjoyed drawing with coal ding passion to paint, Garip chose a Finding enrichment also in poetry,
and tile pieces on the concrete floor as highly rewarding art-related pathway classical music and dance, the art-
a pastime. instead. After obtaining her degree, ist considers watercolor’s distinct
Developing early on this deep affinity she worked as a fashion stylist and expressiveness as being especially
for nature, Garip reveled in her childhood then ran her own ceramics atelier meaningful. “Watercolor’s dynamic
explorations of the outside world. Of par- before teaching high school art for characteristics, fluidity and trans-
ticular interest to her as a girl was a lively, 20 years. Upon her retirement, she parency are identical to the feelings
freshwater stream adjacent to her grand- started giving art lessons in her stu- water evokes in me,” says the artist.
mother’s vegetable garden. “The stream’s dio and—having the time at last to “Working in watercolor reminds me of
clean, vigorously flowing water was home paint for herself—began building her a graceful dance or a well-orchestrated
to the stones that we gathered, as well as portfolio in oil, pastel and charcoal. symphony in which the individual
fish, crabs, tadpoles and numerous other It was on a whim, in 2014, that pieces flow into one another to form
living things,” she says. “It also nourished Garip did a watercolor study and a harmonious whole. It also calls for a
the surrounding farmlands.” discovered something truly magical great deal of concentration and atten-
Garip’s “Stony Creek” series is centered in the process. “By the completion of tion to detail, however, since even the
on this stream and the artist’s vivid mem- my third painting that week, I had smallest error can greatly impact the
ories of it. In fact, transparent water and switched to watercolor exclusively,” final result.”

26 Watercolor artist | FALL 2023

PLANNING AND PREPARATION
Usually working in her studio from noon until 5 p.m. each
day, Garip starts each new painting with a sense of readi-
ness, equipped with a clean sheet of paper, palette, brushes
and a tidy studio. “My paintings reflect the tranquility of
my surroundings and provide a feeling of harmony and
peacefulness,” she says. Being in the comfort of her stu-
dio also bolsters the artist’s creative focus, as does music.
“Music helps to fill in the gaps, even inspire new ideas for
idyllic scenes created by my mind’s cognitive processes,”
Garip says.
When designing a painting, it’s the artist’s vision—
a blend of her feelings, memories, reflections, cares and
her imagination—that counts most. “I always strive to
create compositions that meet my vision,” she says, “but
the reference photos are never sufficient. So, I use them as
a starting point and then let my imagination run free to
create a new composition that pleases me.”
Garip points to significant alternations made in her
“Stony Creek” series. Stony Sea (bottom, right), for exam-
ple, is based on the stream where she played as a child.
Unfortunately, upon revisiting the stream many years
later, she encountered the ravages of pollution. “The water
was very shallow and murky, and the submerged stones Boats (watercolor on paper, 30x22)
were covered with moss from pollution. Various forms
of waste were strewn around,” she says. The artist felt a
deep sadness upon witnessing the destruction of the area,
coupled with distress at seeing that “nature was receding
day-by-day.”
Standing by her choice to portray nature in its pristine
beauty, Garip redesigned her reference photos for the
series. She made the barely discernible stones clean and
visible and created the colors and transparency of the
water as she remembered it from her childhood. “I stayed
true to the stream as I originally knew it and the vision
I had in my mind,” she says. In a subsequent painting, she
added some aquatic life to the imagery (see Fish, opposite).
The artist views the series as a tribute. “I want to show my
respect for water, our source of life, and honor my memo-
ries of that stream,” she says.
Garip has learned that careful planning and prepara-
tion are key to a successful painting. “Before I begin, I take
great care in selecting the proper materials and visualiz-
ing each stage of the painting’s creation,” she says. Her
preparation includes mapping out the various textures,
determining the order of her color application and con-
ducting valuable color-mixing tests. “The colors I use are
based on my sample sheet experiments,” she says. “Color
mixtures are very important, especially for transparent
surfaces such as underwater stones and leaves.”
As planning gives way to painting, Garip shifts gears,
acknowledging that “the starting point, which is the most
crucial stage for me, requires complete concentration and
speed. It sets the tone for the rest of the painting and can
guide me toward new ideas that further inspire me.” Stony Sea (watercolor on paper, 30x22)

ArtistsNetwork.com 27
Lonely Willow
(watercolor on
paper, 30x22)
 Meet the Artist

Rukiye Garip (instagram.com/

rukiyegarip), of Balikesir, Türkiye,
taught art for 20 years before
focusing on her own painting in
retirement. Working exclusively in
watercolor since 2014, she paints
highly realistic scenes of nature.
The artist has taken part in more
than 70 juried international
exhibitions, biennials and festivals
worldwide, and her paintings are
collected internationally. She’s a
Signature Member of the American
Watercolor Society and a member
of the International Masters of
Watercolour Alliance.

Phaselis (watercolor on paper, 30x22)

DELVING INTO DETAILS contribute their unique characteristics look always reveals the intricate details
Garip’s approach to a painting varies to the environment and find purpose. under the water’s surface. Reflections
from subject to subject and is heavily Similarly, each of the hundreds of upon the water are also worth observ-
driven by the emotional content of stones visible beneath the water tells ing because they promise a tantalizing
her concept. “I use different methods its own story with shape and texture. glimpse. When I paint water, I enter a
according to the needs of each painting So do the trees and leaves. By looking state of flow in which I feel connected
and the emotional communication at their size, color and texture, we can to its movement. This is what allows
I intend,” she says. Ultimately, though, gain insight into their stage of life.” me to capture water’s purest essence
it’s the exquisite details—the granular The placid, life-giving, crystal-clear and vitality.”
texture of the stones, the veining on water that features in many of Garip’s Like the clear, reflective water that
the leaves, the precise reflections in paintings, such as Phaselis (above) and Garip portrays, her paintings offer
the water—that bring her stunning Lonely Willow (opposite), brings the sensitive and carefully considered dis-
paintings to life. cycle-of-life theme full circle. “Water tillations of interconnectivity in the
“The details are crucial for me,” is a life source that’s vital to our sur- natural world. By doing so, her work
says Garip. “I think that every detail is vival,” says Garip, “but it’s also much also offers a reminder to appreciate
essential in creating a self-proclaimed more than that. To me, water stands and enjoy—but also to respect and
language of art that doesn’t need to for freedom, enthusiasm, serenity and preserve—the beauty of the earth.
be explained. The details distinguish productivity. I’m fascinated by water’s
one element from another in a mul- transparency and how it enables us to Christine Proskow is a California-based
titude. Therefore, all living things see what’s hidden underneath. A closer freelance writer and editor.

ArtistsNetwork.com 29
 demo

Stony Creek
Follow along to see how Garip depicts ripples and highlights in water.

1 2

3
Step 1
I outlined in pencil some of the stones that I intended as the
focal point for the composition. After wetting the entire paper,
I washed on a layer of French ultramarine.

Step 2
I painted wet-into-wet with Vandyke brown to create the
appearance of sand along the bottom. Using paper napkins,
I removed paint from the light areas of the lightest-colored
stones in the sand. Then I sprinkled the paper with salt to add
texture to the stones.

Step 3
Starting from the big stone in the focal area and the
surrounding underwater stones that I originally outlined,
I continued to paint and develop the forms using a drybrush
technique on the textured paper. I took advantage of the
spontaneous formations from the salt effect to build up the
sand and the smaller stones.

30 Watercolor artist | FALL 2023

4 5 Step 4
I used a light yellow to create
the underwater highlights.

Step 5
I painted the areas that determine
the movement of the water. Next,
I created the dark stones that
appear underwater in those areas.

Final Step
To finish Stony Creek (watercolor on paper, 30x22),
I detailed the shadows of the stones and the deep
parts of the water. Then I strengthened the darkest
areas and the details I wanted to be most visible. WA

Artist’s Toolkit
SURFACE
• 30x22-inch sheet of
140-lb. cold-pressed
paper
WINSOR & NEWTON
PAINTS
• burnt sienna,
cobalt turquoise,
French ultramarine,
manganese blue,
Naples yellow,
quinacridone
magenta, Vandyke
brown, Winsor blue
OTHER
• salt, paper napkins

ArtistsNetwork.com 31
 Of Horses
and Humans
RENOWNED ARTIST DON WELLER
BRINGS THE WESTERN WORLD OF THE
CONTEMPORARY COWBOY TO LIFE.
by Michael Chesley Johnson

Onion Creek View

(watercolor on paper, 15x26)

32 Watercolor artist | FALL 2023

S ome ranchers today may
round up cattle using four-
wheelers, but in the world
of Utah artist Don Weller, you’ll
find plenty of cowboys on horse-
to go to the Saturday matinees
alone to watch Westerns, I began
my search for cowboys,” he says.
He drew the humans and horses
on paper and longed to experi-
back. His watercolor paintings ence life in the saddle firsthand.
are proof, each one energized “My whining to my parents
with sparkling color and a dy- finally paid off,” he notes, “when
namic composition. “I was raised I got my own horse.”
in the American West, and it’s Exploring the western terrain
what I know,” he says. He grew up on horseback was an exhilarat-
in Pullman, Wash., in the eastern ing adventure, one that enabled
part of the state, surrounded by Weller to experience the symbiotic
wheat fields, rolling hills and the bond between rider and horse, as
Palouse River. well as to develop a deep appreci-
It was in that bucolic setting ation for the beauty of the rugged
that Weller’s affinity for cowboys outdoors. He’d often sketch while
and horses was born. “Once my in the saddle. Weller’s ongoing fas-
brother and I were old enough cination with horses eventually led
 him to the worlds of calf roping and with clients such as TIME magazine, the A STUDIO BUILT FOR
rodeo competitions in high school and National Football League and the U.S. TWO (MEDIA)
young adulthood. Today, at the age of Postal Service, for which he designed The couple built their Utah house in
86, one of Weller’s favorite activities is five stamps. 1994, and it features a large studio.
working his three “cutting” horses— During this time, Weller also taught Weller, who served as the architect,
horses that are adept at splitting off art part time, three years at UCLA says, “My dad had been an architect,
a single cow from the herd. beginning in 1967, where he met his so I knew how to do the drawings the
So, how did Weller go from riding wife, Chikako “Cha Cha” Matsubayashi, old-fashioned way, with tracing paper
horses to a successful career depicting and 11 years at the ArtCenter College and pencils.” The property includes
those four-legged creatures and their of Design. In 1984, realizing he had a barn with several stalls for the all-
hardworking riders in artwork? Like seen all the cement and palm trees he important horses, as well as a garage,
most stories told around the campfire, could stand, he and Cha Cha moved to which houses his second-floor studio
it was a circuitous route for the hero. Utah, where he taught at Brigham with two distinct areas: one for his work
Weller attended Washington State Young University and the University in watercolor; the other for oil painting,
University without a clear idea of what of Utah; he retired from teaching about which he recently has picked up again.
he wanted to do. An elective class in life 15 years ago. “I try to keep the two media separate,”
drawing changed that. “My major was The move to Utah, just east of Salt he says, “because oils are so messy, take
fine art, which in those days meant Lake City and at the edge of the Uinta- forever to dry and ruin my clothes.”
Abstract Expressionism,” he says. Wasatch-Cache National Forest, freed For his watercolor practice, Weller has
“What stuck was the knowledge that Weller from the city and was a literal set up a drafting table that can be tilted
ideas could be important—and how to breath of fresh air. “The rural West with to help him control paint washes.
draw and stretch watercolor paper.” He mountains, sagebrush and cowboys— Additionally, he has flat files for paper
went on to earn his bachelor’s degree it was still there, just as I had left it so and finished works, as well as an abun-
in fine art. long ago,” he says. dance of flat surfaces for watercolor
After a stint with the Air National Weller once again found himself tra- palettes, brushes and cans. “Visually,
Guard, in Texas, Weller went looking for versing the American West, this time it’s a mess,” he says of the much-used
work in Los Angeles. There, he learned painting lyrically romantic works fea- working space. While the studio offers
the business of graphic design by work- turing Native Americans and cowboys, natural light conducive to painting in
ing with a number of design studios. He horses and cows, rodeos and rough- both media, Weller has supplemented
eventually opened his own one-man stock, bronc riding and roping, barrel it with more artificial light sources over
shop and for decades did graphic design racing and branding, bulls and buffalo, time to compensate for his worsening
and illustration, enjoying relationships and more. eyesight from macular degeneration.

34 Watercolor artist | FALL 2023

 From
Artist to
Author
Weller not only lives in
and paints the American
West, but he explores it
through the written word,
too. In the spirit of em-
bracing change, he’s now
writing modern Western
novels, scaling the font
size large enough on the
computer so he can see
it clearly. Sunrise Surprise,
(Don Weller Western Art,
2023), the second in his
murder mystery series
featuring Jake Oar, a
Utah rancher and cutting
horse trainer, was re-
leased last spring; it’s
available on Amazon.
Weller maintains a
passion for writing about
art, too, as in his award-
winning Don Weller Tracks,
A Visual Memoir (The
Weller Institute for the
Cure of Design, 2022).
He recently worked with
his wife and partner,
Cha Cha, and water-
colorist Marlin Rotach
to publish The River
Flows: Watercolors of the
American West (The Weller
Institute, 2020). The 200-
page book explores two
centuries of Western
works by 41 water-
colorists, from George
Catlin (American, 1796–
1872) to today’s artists.

OPPOSITE
Cowboy Church (watercolor on paper,
16x28)

ABOVE
Bronco (watercolor on paper, 11x13)

LEFT
Dusty Throne (watercolor on paper,
15x16)

ArtistsNetwork.com 35
 BLAZING THE ARTISTIC TRAIL
Although Weller has spent a lifetime fill-
ing sketchbooks on-site, these days he
prefers to work from printed photos.
When out looking for subject matter on
horseback, he often takes along a camera
housed in a special padded camera bag
that fits on the saddle. Other times, he’ll
just rely on his smartphone to capture
a scene or image for reference.
Back in the studio, Weller peruses the
photos and then selects one as his refer-
ence. If he determines that the com-
position is complex, he simplifies it by
making a small grayscale pencil sketch,
fine-tuning the design as he draws.
Next, he tapes down a sheet of 90-
or 140-lb. Arches cold-pressed watercolor
paper, usually a half-sheet, on which to
draw the scene. He may use tracing paper
to transfer a more accurate likeness of the
sketch. “The drawing shows me the im-
portant edges,” he notes.
Unlike many watercolorists, Weller
doesn’t wet and stretch the paper prior to
painting. “I don’t ever remember wetting
paper except when I was in college,” he says.
He doesn’t worry about the paper buckling,
because he knows he can flatten it later in
a dry-mount press. Dry paper, he notes,
erases more easily—an important factor
since, after lightly penciling in his design,
he erases the lines as he paints.
Weller begins painting the areas that are
most difficult, usually the faces of horses
and humans. He then works on the areas
where value contrast is greatest. “I some-
times do a little sketch in pencil if where
I’m going is complicated,” he says, “but
mostly I have it solid in my head, and that’s The Wrangler
enough.” Simultaneously, he concerns him- (watercolor on paper, 17x11)
self with color, but doesn’t necessarily stick
to those he sees in the photo. “People say
that subject and color are what get a paint-
ing sold, but for me, I’m painting what I
want and using colors I like, so I don’t needed. He uses any means necessary to ensure that the color is strong and
worry about selling,” he says. “If the colors bright. “Because it’s important that the paintings look fresh,” he says, “I’m
match the couch, it’s just pure luck.” willing to wad them up and toss them out if they start to look overworked.”
As he works, Weller tries to lay down Even after a lifetime of painting, Weller isn’t fixated on any particular
each wash “right” the first time. If he’s brand of brush or paint. He has the usual assortment of brushes—tiny to
uncertain, he errs on the lighter side, large, chisel-edge to pointed. His workhorse flat edge is a ¾-inch brush,
knowing he can layer more color later. although he sometimes uses a Japanese brush. For painting grass and
If he wants to change color in an area, he horse tails, he uses fan brushes up to 1½ inches wide.
dries part of that area and then drops the As a watercolor purist, Weller doesn’t use white paint, preferring instead to
new color into the still-wet portion. Weller preserve the paper’s white for lights. Unlike many purists, however, if he can’t
relies on the slope of his drafting table and find the exact hue he wants in a tube, he mixes color as needed. And instead of
a hair dryer to direct the color where it’s mixing paints to stand in for black, he reaches for a tube of actual black.

36 Watercolor artist | FALL 2023

 ,
LEFT
Over the Top Speed
(watercolor on
paper, 12x20)

BELOW
Working Cow Horse
(watercolor on
paper, 15x12)

Meet the Artist

Don Weller
(donweller.
com), of
Oakley, Utah,
is an award-
winning
watercolor
and oil
painter.
He grad-
uated from
Washington
State University, earning a bachelor’s
degree in fine art, and recently
received an honorary doctorate degree
from the San Francisco Academy of
Art. He has garnered numerous art
awards and recognition over the years,
most recently in 2020 with the Western
Heritage Award from the Cowboy
and Western Heritage Museum in the
Literature category for his book, Don
Weller Tracks, A Visual Memoir. His work
has appeared in notable exhibitions
and can be found at Bolt Ranch Store,
in Kamas, Utah; Howell Gallery of
Fine Art, in Oklahoma City, Okla.;
Montgomery-Lee Fine Art, in Park City,
Utah; Wilcox Gallery, in Jackson, Wyo.;
and Wild Horse Gallery, in Steamboat
Springs, Colo.

ArtistsNetwork.com 37
 LEFT
Dust (watercolor
on paper, 12x16)

BELOW
Been Workin’
(watercolor on paper,
24x17)

OPPOSITE
Eight Saddles
Bein’ Sat (watercolor
on paper, 18x24)

Embracing
Change
Watercolor has, until recently,
been Weller’s primary medium,
but because of his failing
eyesight, he has been drawn to
oils. His watercolor paintings
require a certain amount of
tight detail, which he now finds
more difficult to achieve. “I’m
working bigger and looser in
oil,” he says, “which works
better with the macular
degeneration.”
What does this mean
for Weller and his art going
forward? “I think an artist is
growing when he’s changing,”
he says. “An artist can only do
the same thing over and over
for so long before it begins
to feel stale, so I’m trying to
embrace change.
“If you’re in art to get rich, the
odds are against it,” the artist
says. “Better, I think, is to paint
to please yourself and let the
chips fall where they may.”

38 Watercolor artist | FALL 2023

TRICKS OF THE TRADE
A Weller painting usually features three recognizable trademarks: a sweeping ON THE TRAIL
backdrop, descriptive textural strokes and subtle gestural movement. When it comes to the peripatetic
Background: In some cases, the backgrounds in Weller’s paintings serve as nature of his life, consider this
a simple backdrop of flat color, but in others, such as Cowboy Church (page 34), Weller quote from Don Weller
they’re part of the story and offer depth and complexity. “Sometimes, I can tell Tracks, A Visual Memoir, which is
the story I want without backgrounds,” the artist says, “but usually, they set the replete with his drawings, water-
scene and contribute to the image.” Many of the backgrounds featuring flat color colors and oils, as well as self-
have a silk-screened look. To achieve this effect, Weller uses white gouache mixed penned mini-essays about his life:
with watercolor and a little water. “If I do this, it’s usually because the painting “I started out drawing and painting
was getting a busy surface and seemed to ask for some visually quiet places. It can cowboys and had some complicated,
also be used to cover a mistake, but that alone isn’t a good reason for it.” but interesting, detours. ... The pro-
Texture: “I’m drawn to a brushstroke that looks like a ‘happy accident’— gression of projects outside the normal
a stroke that suggests a thousand acres of sagebrush, a horse’s mane or a cloud realm of Western art, and what I
in the sky,” Weller says. “I treasure a cloud like that over a well-rendered one.” learned from them, help give my paint-
Depending on the surface, he may make the stroke first and then blend it into ings their uniqueness and personality.”
another area while it’s still wet. He practices these strokes—what he calls his These are words of wisdom for
“trick shots”—on scraps of watercolor paper first. those of us who may feel that life has
Movement: Weller learned to capture the gesture and movement of a figure taken us down the wrong trail. Maybe
quickly while in school. He gives as an example a model that stands contrapposto, it isn’t the wrong one, after all. WA
in which the weight is put on one leg while relaxing the other leg. This shifts the
hips and shoulders, introducing a graceful curve into the spine. “It’s the same Michael Chesley Johnson is an artist,
whether the pose is of a standing cowboy or a horse’s stance,” Weller says. “I try workshop instructor and author of
to exaggerate curves and positions, but I only exaggerate a little—too much, and the book, Beautiful Landscape Painting
it gets cartoonish; no exaggeration, and I’m just duplicating the photo.” Outdoors: Mastering Plein Air.

ArtistsNetwork.com 39
 Mediterranean (watercolor on paper, 12x12)

Minimal Marks,
Maximum Impact
by Allison Malafronte

40 Watercolor artist | FALL 2023

 YOU DON’T HAVE TO GET ON A PLANE TO BE TRANSPORTED TO THE VISUAL
WORLD OF SPANISH PAINTER LUIS CÁMARA, FEATURING COASTAL VILLAGES,
BOAT-FILLED HARBORS AND STILL LIFE ARRANGEMENTS FULL OF VERVE.

Artist Luis Cámara is an interna- semi-abstract still lifes with strong approaches makes each painting an
tionally recognized painter who geometry all receive the royal treat- adventure and a unique experience.
relishes watercolor for its subtlety, ment from Cámara’s expert hand. I’ve found watercolor to be the most
luminosity and transparency, “When I first started painting 14 suitable medium for depicting my
using minimal brushstrokes to years ago, I worked with oil,” says the subjects because it allows me to elimi-
speak volumes about a variety of artist. “I soon discovered, however, nate details while keeping the essence
subjects. Stark winter landscapes; that my temperament was much bet- of what I want to represent. Even
sun-drenched Mediterranean archi- ter suited to watercolor because of when a painting has been planned
tecture; crisp, tranquil harbor scenes its speed and immediacy. Having the in advance, watercolor always allows
with slowly drifting sailboats and; ability to work with many different room for surprises.”

Coffee Time (watercolor and oil pastel on paper, 19½x27½)

ArtistsNetwork.com 41
 Meet the Artist
Luis Cámara (instagram.com/acuarelasluiscamara)
has taught art classes in Spain, Portugal and the
United States. He currently hosts online watercolor
courses and offers intensive workshops at his studio
in Madrid. The artist is a member of the Spanish
Association of Watercolor Painters, and his work has
been exhibited in Spain, Portugal, France, Italy, Austria,
Slovenia, Albania, Russia, India, China and Mexico.

EDUCATION AND between realism and abstraction. CLOCKWISE FROM

EXPERIMENTATION “I’ve always been interested in that TOP LEFT
Boats (watercolor
Born and currently residing in middle area between the figurative on paper,
Madrid, Cámara was an economist and the abstract,” he says. “It’s where 13¾x19½)
for the majority of his professional I feel most comfortable expressing
life. He sought an education in art myself. While my painting style may Street in
by taking watercolor classes and be recognizable—and possess a per- Frigiliana
(watercolor on
attending workshops to learn differ- sonal stamp—I believe every artist paper, 15½x12)
ent techniques and approaches with should always be evolving, searching
the medium. His self-directed stud- for new approaches and refining his Arquitecturas
ies also included reading numerous or her language.” (watercolor and
ink on paper,
art-history books, visiting exhibi- Multiple sources of art and 19¾x19¾)
tions and watching instructional design from past and present have
videos and demonstrations. inspired Cámara’s development as Winter
Through these outlets, Cámara was a painter. He counts two Spanish Landscape
able to find an approach that best watercolorists among his most (watercolor and
ink on paper,
suited his aesthetic. Although the influential first teachers: Javier 10½x13¾)
artist doesn’t like to be classified by Zorrilla, who taught him the fun-
one subject or style, he does feel most damentals of technique, and Idoia
comfortable in the energetic space Lasagabaster, who encouraged him

42 Watercolor artist | FALL 2023

to experiment and dared him to try out different combinations and
different approaches. techniques with each. Watercolor
Cámara has also been influenced with ink and oil pastels is currently
by the great watercolorists of the one of his favorite combinations.
past—Homer, Sargent and Wyeth, “I believe that watercolor is valid
among others. He also finds inspi- for any kind of motif, but in my
ration in other genres. “I like the case, I use it a lot for landscapes,
aesthetics of oriental painting and still lifes and architecture,” he says.
that whole ‘less is more’ approach “I love mixing ink and watercolor
in the simplicity of calligraphic in winter landscapes. [See Winter
strokes and Sumi-e [Japanese ink Landscape, left.] The ink and the
painting],” he says. “I also love white of the paper provide me with
approaches that take reality as formidable contrasts, in the style
reference and try to represent it of oriental calligraphy. I also like to
through an abstract language.” occasionally use oil pastel in water-
Experimentation and fresh colors, mainly those with an urban
approaches also apply to Cámara’s theme or in still lifes, combining
media choices. The artist has transparent washes with opaque
recently begun experimenting with and very intense touches of color
ink, acrylic, oil and graphite, trying that give variety to the work.”

ArtistsNetwork.com 43
 “I’ve always been interested in that middle-area between the figurative and
the abstract. It’s where I feel most comfortable expressing myself. ”
—LUIS CÁMARA

DIVING INTO
WATERCOLOR travel to many different places, and “Motifs to paint can be found very
When it comes to the actual creative I do so as often as I can,” says the close to home, and many times I don’t
process, compositions and ideas for artist. “Places I love for inspiration need to move from my studio to find
paintings are generated predomi- include coastal areas, the white vil- inspiration,” he says. “In fact, a good
nantly in the artist’s imagination lages in the south of Spain and any portion of my watercolors aren’t
first, although he certainly benefits city in Italy. It would take too long to based on real motifs but on imagined
from living in a country teeming with mention them all.” designs and compositions.”
visual inspiration as well as frequent Cámara’s inspiration doesn’t come The artist typically works out his
opportunities for travel. “I like to from his travels alone, however. compositional ideas by starting with
several tonal sketches. “The tradi-
tional approach to watercolor starts
with the first lightest washes to rep-
resent the overall light in the scene,”
he explains. “In the second layer,
the general structure is defined, and
medium tones are introduced. Then
I add the graphic details during the
third stage.”
Cámara uses this same method
in many of his works, but will usu-
ally add certain particularities to
each individual process. In Downhill
(opposite), for example, he used dom-
inant color ranges that were either
cold or warm. “In the first layer of ini-
tial washes, I always leave parts of the
paper unpainted,” he says, “allowing
the whiteness of the paper to give me
maximum light and, at the same time,
generate some abstract shapes that
I can take advantage of later when I’m
working the second stage.”
It’s in the second stage that
Cámara introduces half tones—both
positive (the shadows on the build-
ings) and negative (when painting
the sky, new buildings appear in the
background)—structuring the initial
forms and generating contrasts. This
is also the stage at which he defines
the center of interest.
In the third and final phase, the
artist introduces the darker tones,
generates the final tonal and chro-
matic contrasts and pays special
attention to graphic details. “The final
lines, points and marks help me to
refine with detail, connect the differ-
Red Flowers (watercolor on paper, 15¾x12) ent elements and provide movement

44 Watercolor artist | FALL 2023

Downhill (watercolor and oil pastel on paper, 19x14½)

ArtistsNetwork.com 45
 Candelario (watercolor on paper, 19½x13¾)

46 Watercolor artist | FALL 2023

Boats on Water (watercolor on paper, 12x17¾)

to the scene,” he says. “The gestural fast and makes decisions on the fly, addition to offering online classes
brushstrokes, energy and movement which leads to an energetic, vibrant, for a growing community of artists
are essential for me when painting.” vignette-like end result. of all levels. He says that the process
Occasionally Cámara likes to break of teaching is a continual source of
the unity of the chromatic range by PASSING IT ON not only inspiration but also educa-
introducing an element from the On the business end, Cámara has tion. “I’ve been a teacher for many
opposite range. If he’s working in found success selling his work out years,” he says, “and I believe that
a cool range, for instance, he’ll intro- of his Madrid studio as well as to one never really knows a subject
duce warm tones and, if working an international following through until he or she is able to explain it
with warm tones, he’ll introduce social media. He also sells both orig- in an understandable way to some-
cool ones. Color accents are very inal works and prints from his social one else.”
characteristic of his work—especially media platforms, which allows him Teaching is both a challenge and
gray-dominant work—whether he’s to respond to a growing demand for a commitment for Cámara. “It’s a
working in watercolor or oil pastel. his paintings. challenge because it takes me out of
On other occasions, as seen in Reflecting on how the watercolor my comfort zone and forces me to
the still life Coffee Time (page 41), scene has changed over the years, he tackle new topics, to continuously
Cámara starts the watercolor in notes that the medium has grown a improve my own technique and
the opposite way, reversing the lot in Spain in recent years. “We have evolve my painting process,” he says.
traditional approach. “I begin by a very active watercolor community “It’s also a commitment to continue
introducing the darkest tones with here,” he says, “with many associ- to learn—both as a student and as
a hard brush or palette knife and ations and groups from different a professional artist.” WA
very dense watercolor or mineral regions, forums on social networks
pigments,” he says. “Then I drag and plein air events.” Allison Malafronte (artindependentllc.
those spots with a lot of water, leav- Cámara also travels internation- com) is an arts and design writer and
ing whites to obtain the shapes and ally to teach studio and plein air editor and a regular contributor to
compose the scene.” The artist moves watercolor lessons in person, in Artists Network magazines.

ArtistsNetwork.com 47
 by Tim Saunders

48 Watercolor artist | FALL 2023

 A Magical Garden (Chelsea Garden With Palm House) (watercolor on paper, 16x30)

ENGLISH ARTIST
SUZY FASHT DELVES
INTO THE EXPRESSIVE
PROPERTIES OF
A garden is not a picture,
but a language,” Henry
Mitchell, noted American
gardening author, once wrote.
But for Suzy Fasht, a garden is
watercolor, egg tempera and oil
in equal measure—each for its
distinct effects and properties.
“Watercolor is very immediate
and fluid,” she says, while egg
both. Painting whimsical and tempera offers a “stillness” to
WATERCOLOR, EGG ethereal floral still lifes and land- her works. “Oil, on the other
TEMPERA AND OIL scapes is the creative language hand, is very movable because
she uses to address her surround- it dries slowly, so there’s always
FOR HER STILL LIFES ings and express herself. Her the option of changing things
AND GARDEN SCENES. creative dialects of choice are on the go.”

ArtistsNetwork.com 49
 OPPOSITE, TOP TO BOTTOM
Hideaway (watercolor on paper, 15¾x11¾)

Summer in the Garden (watercolor and

India ink on paper, 22¾x22½)

Magnolia on a Sunny Windowsill (watercolor on paper, 14x18)

Although Fasht has been a painter Dartmoor, in Devon, in England’s to record her floral subjects “as a
and art instructor for years—she Southwest. “The man I rent my art simple visual record for later use,”
graduated with a bachelor’s degree studio from had planted a bank full she says. “The drawings are starting
in fine art from Wimbledon School of sunflowers, gladioli, verbena and points, or springboards, in a way.
of Art in 1995 and earned a postgrad- alliums near the building. The summer The watercolors are the next stage.”
uate diploma in painting at the Royal weather was sunny and dry—unusually Other times, Fasht prefers to
Academy Schools in 1998—she didn’t so for England—so I carried my easel paint directly in her own garden
initially paint florals. “I mainly painted outside and, under a garden umbrella, or from a still life setup. In these
imaginative landscapes based on draw- I started sketching and painting.” instances, she doesn’t do an initial
ings from visits to places around sketch. “I prefer instead to let the
England,” she says. SKETCHING IT OUT composition evolve,” she says. “I’m
It was during the pandemic lock- Fasht’s hardcover sketchbook is attracted to the ephemeral nature
down in 2020 that the artist’s floral often where her creativity begins, of flowers, which reflects the whole
paintings emerged and blossomed. and from there she develops a plan of life. I’m attracted by their colors,
“I had to shut down my classes, which based on her chosen painting media shapes and lines to figure out how
meant I was free to paint every day,” and desired results. She prefers to to use them to create unity and
says Fasht, who lives and works in sketch outside using a B or HB pencil variety—a harmony of elements.”

50 Watercolor artist | FALL 2023

WATERCOLOR
AND BEYOND
Fasht relies on watercolor to trans-
late her floral drawings into full
color. “I use it to interpret my
drawings in color,” she says, “and
then I edit and transform things
into something more imagined.
While interpreting, I try to make
finished paintings rather than
experiments. When I paint with
watercolor outdoors, it’s with the
hope of making a finished work.”
The fact that watercolor paper
doesn’t require any preparation
enhances its appeal for the artist,
who finds that it’s second to none
when working en plein air thanks
to its quick-drying property.
Fasht uses a limited palette,
although she doesn’t rely on just
one overriding palette for all of her
paintings. “I choose my colors for
each painting prior to starting,” she
says. “The palette is determined by
the mood, atmosphere, season and
time of day I want to convey. Each
palette is based on the three pri-
mary colors; I may just have one
of each or a warm and cool of each,
and then I mix greens, violets,
oranges and neutrals from them.”
The artist admits to being
“fussy about paint and would
rather have three of the best-
quality primary colors than lots
of poor-quality paint.” She prefers
single-pigment colors from
Schminke, Sennelier and Michael
Harding. “I was taught not to
have more than three colors in a
mix, or it turns muddy,” she says.
“If a tube of paint contains three
colors, that won’t work for me
because it becomes too muddled.
I like a tight palette for harmony;
it’s more important to me than
truth to the subject in real life.”
If Fasht becomes “particularly
drawn” to a watercolor painting,
she may decide to invest more
time and use the concept for
a larger oil painting, “The water-
color paintings serve many
functions,” Fasht says. “I find
I need many interim stages
between an initial idea, or draw-
ing, and a resolved oil painting.”

ArtistsNetwork.com 51
 Royal Work
Fasht was elected an Associate of the
Royal Watercolour Society (RWS), in
2018, becoming a full member just
four years later. “I applied with a
portfolio, sketch-books and finished
paintings, after having had work
accepted into the open exhibitions,”
she says. “It was really encouraging
to be elected by my peers; it’s a very
friendly society. Plus, there have been
many opportunities and a more
public platform for my work.” RWS
holds two exhibitions each year, in the
spring and fall, at Bankside Gallery,
a stone’s throw from Tate Modern
on the bank of the River Thames.
RWS recently invited Fasht to
create work in response to the
Chelsea Physic Garden—London’s
oldest botanic garden—which
celebrates its 350th anniversary
this year. “I made several visits
during which I produced drawings
in my sketchbook,” the artist says.
“I referred to them back in my studio
to create watercolors,” including
the two pieces shown on this page.
Fasht’s paintings, along with other
RWS artists’ interpretations of the
garden, were on display for the
anniversary at Bankside Gallery, in June.

ABOVE
The Most
Gigantic
Sunflowers
Ever Seen! in
the Dicotyledon
Order Beds
at Chelsea
Physic Garden
(watercolor on
paper, 25¼x22½)

LEFT
The Garden
of Medicinal
Plants (Chelsea
Physic Garden)
(watercolor and
gouache on
paper, 13¾x22)

52 Watercolor artist | FALL 2023

EXPLORING EGG TEMPERA based in the studio, as it’s too cold
Egg tempera serves as a fresh media to paint outside.”
dialect, providing an exciting con- Fasht makes the paint herself by
trast in Fasht’s works. In Western mixing egg yolk with pure pigment,
art, the medium was used before oil distilled water and a drop of Oil of
painting and was a popular technique Spike Lavender. The artist learned
of the early Italian Renaissance. It the technique at The Prince’s Foun-
was championed by artists such as dation School of Traditional Arts,
Sandro Botticelli (1445–1510), who in London. “Making the egg tempera
painted Madonna and Child, and is much easier than you’d think,
Raphael Sanzio da Urbino (1483– although it’s quite time-consuming,
1520), known for his Madonna in so I don’t use it quite as often,” she
the Meadow. The medium is durable, says. “I like the fact that it’s probably
generally unaffected by humidity a more environmentally sympathetic
and temperature, and dries quickly paint, and I like its connection to
to form a tough film that acts as the Renaissance. I enjoy the whole
a protective skin. craft aspect of it; it gets me into the
“I like using egg tempera because zone for painting rather than diving
it creates a stillness in my work,” straight in.”
Fasht says. “It’s a very particular Fasht works on boards layered
technique, in which the painting and sanded with gesso made using
is created from tiny overlapping gypsum and rabbit skin glue. “If I
brushstrokes layered over time. The were working with egg tempera more
procedure is very calming, and the frequently,” she says, “I’d look into
paint dries beautifully matte.” The making my own boards. I’d like to
artist says she turns to the medium research a less expensive and plant-
in the winter months “when I’m based alternative to the glue.”
A Veritable Tangle (watercolor on paper, 30x22½)

Where Are the Bees? (egg tempera on gessoed panel, 19¾x39½)

ArtistsNetwork.com 53
 Meet the Artist
Suzy Fasht (suzyfasht.com; Instagram @suzyfasht) is an award-winning artist who works
in watercolor, egg tempera and oil. She earned a bachelor’s degree (with honors) in fine art
from the Wimbledon School of Art, in 1995, and a post-graduate diploma in painting from
the Royal Academy Schools in 1998. She was Artist-in-Residence at the London Business
School in 1998. She was elected an associate of the Royal Watercolour Society, in 2018, and
a full member in 2022. Her watercolors are available through Bankside Gallery, in London,
and her egg tempera and oil paintings are available through Catto Gallery, also in London.

Bits and Bobs

Fasht currently teaches watercolor
painting two mornings a week at
Arthouse, in South Brent, Devon.
She also gives occasional workshops
for the Royal Watercolour Society
at its new Whitcomb Street gallery,
just off Trafalgar Square. Here she
shares six tips and pieces of advice
for watercolorists.

• Use quality paper, the heavier

the better. “I use Saunders
Waterford paper in A1 sheets in
200- and 300-lb. weights,” she
says. “I fold and tear them to the
needed shape and size. I can get
a few paintings from one sheet;
sometimes I’ll join them together
to make a large surface.”
• Limit your colors and choose
your palette before beginning
a painting. Use artist-quality
paint in tubes or pans. “I find that
full pans are easier to use than
half,” Fasht says, “and it’s better
to have three primary colors of
high-quality paint than 20 or so
colors of poor-quality paint. Start
with ultramarine blue, alizarin
crimson and cadmium lemon.”
• Buy single-pigment paints and
make your own mixes. Pigments
are listed on tubes so you can see
if more than one color is included.
• If you’re going to use black,
consider vine black. “It’s soft and
semitransparent, so it’s not too
overpowering,” the artist notes.
• Use white paint when you need
to. “You can use it to correct
mistakes,” Fasht says, “or to make
an area slightly opaque, such as
in skies.”
• Try synthetic sable brush
alternatives. “They’re more
humane,” she says. “I use my
synthetic mop for most things.” Medieval Tower in a Garden (Dartington) (watercolor on paper, 15¾x11¾)
Summer’s Offering (egg tempera on gessoed panel, 11¾x15¾)

WHAT’S ON DECK
Fasht is currently turning to her own garden as fodder
for exploring all three media—watercolor, egg tempera
and oil—to create works for galleries and exhibitions, like
the recent one hosted by the Royal Watercolour Society.
(See “Royal Work,” on page 52.) “I plant with an eye to
what I’d like to paint later in the season,” the artist says.
“Because I use my garden as a subject, I’m influenced by
the seasons and what’s growing.”
She’s particularly focused on creating large floral oil
paintings, working directly from motifs in the garden.
She also plans to translate her recent Chelsea Physic
Garden watercolor works into large oil paintings.
“Your garden will reveal yourself,” Mitchell once noted,
and Fasht proves this to be true. Her ongoing explorations
are a testament to her continued growth. WA

Tim Saunders (tasaunders.weebly.com) is the publisher of

Contemporary Artist and hosts the In Conversation podcast.
He’s a photographer and a painter who produces naive oil works
Sunflowers, Gladioli and Verbena (watercolor on paper, 24x15¾) under his nom de plume, Ted Wates.

ArtistsNetwork.com 55
 Fast & Loose
MEETS
Slow & Steady
PLEIN AIR STUDIES ARE THE SECRET KEY TO THE
AWARD-WINNING WATERCOLORS OF WOON LAM NG.
by Isabelle V. Lim

ON GETTING STARTED
W oon Lam Ng is well
known in Singapore,
Asian watercolor circles
and beyond. The award-winning
plein air watercolorist, born in
Ng began painting when he was about
7 years old under the tutelage of Teck
Kee Chang. As a student, he studied
drawing, watercolor and Chinese cal-
brushwork,” he notes. The bold
strokes are apparent in his paintings.
Ng captures his subjects through
both photography and sketching.
Although photo references are one of
Malaysia and now a resident of ligraphy for nearly a decade during his the tools in his arsenal, Ng notes that
Singapore, is known for his fast, boarding school years in Malaysia. Ng they serve only as a jumping-off point
loose and confidently rendered eventually earned a master’s degree in for design, or composition, and not as
urban scenes, inspired by loca- painting at New York Academy of Art, a direct duplication. “Artists who use
tions around the globe, each in 2007, and a doctorate in research photos must appreciate that they’re
featuring bright pops of color at the National Institute of Education, the ultimate decision-makers and
that add a sense of vibrancy and Nanyang Technological University should challenge themselves to pro-
liveliness. Yet getting to those (NTU), Singapore. duce outcomes beyond their original
fast-and-loose scenes requires An intrepid world traveler, Ng says reference materials,” he says.
a lot of forethought and copious he finds interesting subject matter The artist also sketches prolifically
planning on Ng’s part. Much like wherever he goes. “My inspiration on location during his around-the-
the proverbial duck that appears is unlimited,” he says of his primary globe travels, using both traditional
to be gliding effortlessly across subjects—cityscapes and architectural sketchbooks as well as his Samsung
the water, there’s a lot going on elements. “Often, it’s derived through Gallery Note, a smartphone with a
beneath the surface. the exploration of ideas from my large screen that offers the function-
surroundings. I enjoy presenting ality of a tablet. Whether photos or
those subjects in the most simplified sketches, Ng often relies on them
Evening Shoppers and freshest of forms, which is often for larger paintings once he’s back
(watercolor on paper, 15x11) influenced by Chinese calligraphic in the studio.

ArtistsNetwork.com 57
 ON DESIGN the mood in a painting, which reflects schemes, or neighboring colors.” In
Ng, an art educator of drawing and my personal interpretation of val- Weekend Shoppers (below), for exam-
watercolor at the School of Art, ues and colors,” the artist says. “The ple, he contrasts the crowd of figures
Design & Media, at NTU, Singapore, design of shape and space needs to be through differences in hue, value
places an emphasis on design and consistent throughout the image to and chroma. “I sacrifice most of the
composition. He uses it to describe an produce the right effect on viewers.” details to guide viewers with a sense
image for a specific storytelling effect. Ng continues, “I love the beauty of rhythm and purpose that furthers
“The design needs to suggest a certain in the simplification of form and the the scene,” he says. “This type of
‘reading’ sequence so that viewers can ability to maintain unity through storytelling is at the heart of all of
follow what I want to convey about the use of similar shapes and color my paintings.”

Building
Blocks
Ng relies on these
seven fundamentals
for successful paintings.

• Keep in mind that

sketches are key to
a smooth painting
process.

• Focus on thumbnail
value studies.

• Explore design,
including space,
patterns and colors.

• Learn color theory,

particularly the
Munsell color system,
but avoid depending
on prescribed color
recipes.

• Play up the inter-

action between colors
and shapes when
painting loosely.

• Mix colors on a large

palette to create your
own swatch combi-
nations. Record the
“recipes” for future use.

• Practice brush control.

Weekend Shoppers
(watercolor on paper, 22x15)

58 Watercolor artist | FALL 2023

ON PROCESS Value studies
It’s not uncommon for Ng to produce are an integral
part of Ng’s
numerous studies before settling on painting process.
specific ideas for a particular work. It’s He used graphite
such a vital part of his working practice, on brown paper
in fact, that he sometimes fills an entire to create this
sketchbook with roughed-out drawings quick value study
on location
before committing to a large painting. in Singapore.
“Given this process, I actually don’t
work that fast,” he says.
To create a painting, Ng usually
begins with a simple value study to help
him see shapes and their relationships
to one another, from light to dark, and
from soft to hard edges, as seen in the
on-location study (top right). The study
process also helps Ng better evaluate
a scene’s patterns and sense of space.
“People may think that I just did a
speedy brush painting in minutes,” the
artist says. “That could be quite true if
just the painting time is considered;
however, I often spend a much longer
amount of time exploring various aspects
of design, even when working en plein
air, to ensure the painting is rich in color
and narrative.”

ON PAINTING EN PLEIN AIR

Ng is quite comfortable working en
plein air in all locales and conditions—
and doesn’t mind a curious crowd. For
him, plein air painting is similar to
sports training. It’s all about warming
up and flexing his creative muscles to
generate ideas through direct observa-
tion. Doing so helps him build up his
visual muscles, or personal visual
dictionary, for future scenarios.
This process leads to the artist paint-
ing quickly in layers while interpreting
the optical interactions and retaining a
painting’s transparent qualities. His loose
brushstrokes generate a richness while
maintaining a consistency in the subjects.
Although he’s keen to do many
thumbnail sketches en plein air, Ng
never restricts himself to these outdoor
drafts when moving to a final painting.
That said, he also rarely tweaks those
plein air works once back in the studio,
preferring instead to leave the playful
brushwork, fresh color and on-target
visual interpretation to serve as fodder
for a larger painting. Take a Break (watercolor on paper, 15x11)

ArtistsNetwork.com 59
 “People may think that I just
did a speedy brush painting in
minutes,” the artist says. “That
could be quite true if just the
painting time is considered;
however, I often spend a
much longer amount of time
exploring various aspects of
design, even when en plein
air, to ensure the painting is
rich in color and narrative.”
—WOON LAM NG

ON CLEAN, CONFIDENT,
COMMANDING BRUSHWORK
Ng likes to explore new ways of working
that result in changes in his working style
from time to time. Still, he finds that he
does best “when working broadly and
loosely using brushstrokes that are swift,
yet fluid, simple, yet texturally rich.”
To achieve those confident brush-
strokes, Ng relies on his deep-rooted
calligraphic influences, in which force
is applied at the tip of the brush. His
advice for artists who want to paint
loosely? “Don’t let your painting hand
or wrist rest on a surface; instead, they
should be in the air,” he says. This helps
to produce brushstrokes that appear
clean, confident and commanding.
As for artistic preferences, Ng says,
“I value all kinds of painting approaches
and admire those who can patiently
depict the richness through an extreme
amount of details. It’s all a matter of
choice. Each artist should choose what
works best for them.”

ABOVE
Caught in the Rain
(watercolor on paper, 15x22)

RIGHT
Morning Shoppers
(watercolor on paper, 15x11)

OPPOSITE
Evening Chat
(watercolor on paper, 11x15)

60 Watercolor artist | FALL 2023

Artist’s Toolkit
PAINTS (IN TUBES)
• Winsor & Newton;
Daniel Smith;
Rembrandt
SURFACE
• Arches 200-lb. paper
(11x15- and 15x22-inch
for plein air painting;
15x22-, 22x30- and
25x34-inch for studio
painting)
BRUSHES
• Chinese ink brushes
(goat hair and
blended) in various
sizes; nylon flat
brushes; Kolinsky Nos.
12 and 18; No. 4 round
nylon brush; liner

ArtistsNetwork.com 61
 Morning Chat
(watercolor on
paper, 15x11)

62 Watercolor artist | FALL 2023

ON COLOR
Ng prefers to experiment with more
rather than less color so that the dis-
tant hues, which are further from one
another on the color spectrum, create
more contrast. Stronger differences
create more visual tension but, if not
controlled masterfully, a painting can
lose its sense of unity and seemingly
break down into color blocks.
“I mix and experiment with the
practical differences between two or
more colors instead of depending on
the prescribed color wheels,” Ng says.
“The color recipes may not work well
because the actual color space is non-
symmetrical. For example, there’s Japanese Market (watercolor on paper, 11x15)

a dark blue but no dark yellow. When

yellow pigment is darkened, it shifts
toward a green hue because the yellow
color space is very limited and only
exists in a lighter value zone.”
Ng notes, “I’m not an artist who
does very fine, polished artworks.
I use Munsell color space, which is
a more robust color theory frame-
work for creating colors. Over years of
research, I’ve come to understand
the weakness of the commonly used
symmetrical color wheel, which is
based on the Itten Color system,”
he explains. “I sometimes allow my-
self to work toward opacity by using
gouache titanium white on its own or
by mixing watercolor paint, when nec-
Kampong Glam Impression (watercolor on paper, 15x22) essary, to achieve the desired colors.”
Much like that graceful duck gliding
on the water, Ng effortlessly moves
toward dazzling new shores, exhibiting

Meet the Artist a knowing expertise that commands

attention—and admiration—along
the way. WA
Woon Lam Ng (ngwoonlam.com),
of Singapore, is an award-winning
watercolorist. He has had multiple Isabelle V. Lim (isabelleart.com), of
solo exhibitions and has earned Hong Kong, is an artist and writer and a
numerous awards, most recently Master Pastelist in the Pastel Society of
the Bronze Award at the California America, which honored her as a Friend
Watercolor Association 53rd Annual of Pastel in 2015. She’s also an Eminent
Juried International Exhibition. He
Pastelist in the International Association
teaches foundational drawing and
watercolor at the School of Art, of Pastel Societies, enjoys Master status
Design & Media (ADM), Nanyang with the Société des Pastellistes de France
Technological University (NTU), and has been invited twice to be the
Singapore. society’s Guest-of-Honor in France.

ArtistsNetwork.com 63
 Watercolor Essentials

5 Ways to
Make Every W hile there are many possible
ways to approach a watercolor

Drop Count
painting, if you want your
final results to have a fresh, spontaneous
quality about them, then you must let
the water do most of the work. It’s the
only truly natural tool you have at your
Follow along for a fresh perspective on disposal—unlike paints, paper and
brushes, which all involve some type of
how to use the water in your watermedia manufacturing. Indeed, it’s the unpre-
most effectively. dictability of water that fosters that
sense of energy and life in a watercolor.
By Sagnik Biswas So, knowing how to work with this fun-
damental ingredient is essential.
Let’s explore five ways you can make
every drop of water count.

64 Watercolor artist | FALL 2023

 1. PLAN YOUR WET AREAS
Think of your value sketch and plan
your painting in terms of water.
Where do you want your damp (semi-
wet), moist (semi-dry) and dry areas
to be? The three levels of wetness will
produce three types of edges: lost-
and-found, blurry and crisp. They’ll
also produce the three values—low,
medium and high—necessary for
completing the painting. Always keep
the direction of the light in mind.

2. SELECT YOUR TOOLS

Decide which brush or tool to use in
a given area based on the amount of
water it can hold. A moist area can
be achieved with a brush of any size.
For damp areas, you’ll want to use
your largest brush or a sponge. If
you’re working on a large painting,
you can wet it in parts, which allows
more time to apply the paint. Drying
time varies widely depending on
the paper—and the environmental
conditions. Color-mixing can happen
directly on the paper for all wet areas.

SUNNY DAYS
Because I used mostly wet-on-
dry and drybrush techniques
to create Ice Cream Time,
Szentendre (opposite;
watercolor on paper, 15x22)
and A “Sunny” Ghent (top;
watercolor on paper, 20x22)
very little pre-wetting of the
paper was necessary. The idea
was to maximize the effect of
the white of the paper.

AFTER A RAINFALL
Reflections in Cesky Krumlov
(above; watercolor on paper,
15x22) and Memories of Rain,
Florence (right; watercolor
on paper, 22x20) both feature
wet-on-dry middle-ground and
background shapes reflected
in a large, wet foreground
area, which was done at the
final stage of painting.

ArtistsNetwork.com 65
 3. CREATE WATER you’ve followed the previous three
steps, then you’ll know how the water
CHANNELS will flow. Enjoy this moment. For
Water flows best when it’s
unplanned events like a bloom, cauli-
“connected,” which means you
flower or overrun, don’t panic. Try to
must create channels to connect all
incorporate accidents into your paint-
your wet areas. While connecting
ing, if you can, rather than trying to
the wet areas, consider your
hide them. This will maintain a more
sketch and decide the direction in
natural appearance.
which the water should flow. This
technique will help you reduce your
brushstrokes.
5. ADD FINAL TOUCHES
This is the stage in which you’ll add
final touches—perhaps a few figures,
4. LET IT FLOW vehicles or other details—and touch
While painting, start with the back- up the values and edges one last time
ground (lightest value) followed by as needed. If you want to add some
the middle ground and foreground highlights, you can achieve them by
(darker values) in layers overlapping lifting or soaking. Similarly, dry paint
one another. Allow each layer to dry can be added where you have the
before you apply the next one. This darkest darks. You may use a spray
will create depth in your painting. If bottle to partially delete or blur an

MIDDAY
The scenes depicted in
Noontime in Fontainhas, Goa
(above; watercolor on paper,
22x15) and Midday Mass, Bath
(right; watercolor on paper,
22x15), though sunny, have
medium contrast, with almost
no white paper showing. This
can be achieved through a
gradated wash from cool (sky)
to warm (ground) with a value
of 2 to 3. The rest of the shapes
were painted wet-on-dry on
the underpainting using a soft
brush and very little water.

66 Watercolor artist | FALL 2023

 BACKLIT
The middle and backgrounds of Backlit
Pines, Ooty (above; watercolor on
paper, 12x16) and Shadowy Caves
of Ajanta, India (left; watercolor on
paper, 14x17) were painted with the
same technique I used for my sunny-
day scenes. The dark foreground was
sketched afterward, then painted using
minimal water (value range 8 to 10).

area that’s causing a distraction

to the focal area. You can also use
a damp brush to blend some of
the edges.
I’ve applied these principles to all
of the paintings shared here. As you
gain more experience and develop
a clearer understanding of the nature
of watercolor, the properties of the
medium will become easier for you
to handle. Just remember to keep
aware of your use and application
of water—the most important (and
often overlooked) tool in a water-
color artist’s kit.

Turn the page for a demo.

ArtistsNetwork.com 67
 demo

An Afternoon in Murten
By paying attention to the water at every stage of the painting process, I was able to get a clear
idea of how to make the most of it as a tool.

The reference photo for this painting

is a scene in Murten, Switzerland.
Step 1 Step 2
I began by working out a value sketch. I mapped out the
background, middle ground and foreground.

Step 3 Step 4 Step 5

I started the painting in the background, Once dry, I re-wet only the middle-ground area I waited for the last layer to dry, then applied
wetting the paper and applying paint directly (which partially overlaps the background area thicker paint in the foreground. The values
when the surface was damp. The edges were painted in the previous step). I was careful not used here are darker (7 to 8 on the value
mostly blurred at that point. Next, I tilted the to disturb the lower layers too much. Using a scale), and there are more crisp edges. This
piece to facilitate the water flow and mixing soft brush and light strokes, I continued adding meant using even less water at this stage.
of colors on the surface. After allowing some more of the same colors I used in earlier layers Pre-wetting the paper isn’t necessary, and
of the paint to flow into the adjacent middle- to achieve a few crisp edges. The maximum color-mixing can be done on the palette. I
ground areas for overlap, I carefully painted value at this stage should be 6. added my sky at this stage, but the sky can be
around the light areas. At this stage, the value added at any time, depending on which value
range should not exceed 4 (on a scale of 10). you have assigned to it.

68 Watercolor artist | FALL 2023

 Artist’s Toolkit
SURFACE
• 22x15-inch sheet of 140-lb.
cold-pressed paper
BRUSHES
• ½- and 2-inch flats
• Nos. 6, 8 and 16 rounds
• No. 2 mop
PAINTS
• cobalt blue, Vandyke brown,
burnt sienna, raw sienna,
lemon yellow, permanent
rose, quinacridone red,
neutral tint
OTHER
• natural sponge, cellulose
sponge, paper towels, spray
bottle, water

Final
With all three grounds finished, I added figures and highlights to complete An Afternoon in Murten
(watercolor on paper, 22x15). At this stage, you can use very little water (value rating 8), or no
water at all (value rating 10). You can also lift or soften some edges if needed. WA

Sagnik Biswas (paintpaperbrush.com), lives in Mumbai, India. His painting style

is almost entirely self-taught. The artist’s watercolors are like visual travelogues
telling stories of the people and places he has been inspired to paint. Biswas’ work
has been part of exhibitions with the National Watercolor Society and the Bombay
Art Society, and his paintings have been featured in several fine art publications,
including the 2023 edition of The Best of Watercolor, showcasing the winners of the
Splash 24 Watercolor Competition.

ArtistsNetwork.com 69
 3 WAYS TO
&VMRK=øV
Landscapes To Life
WORK ON TOP OF A DRY OIL PAINTING
When finishing or making corrections to a dry oil painting, use Liquin. Apply a
thin layer, then buff off any excess the way you would when waxing a car. The
result will be a slippery cooperative surface that will work well for softening
edges or blurring forms, such as water reflections.
MAKE IT SNOW
Oil, gouache and watercolor artists often create the illusion of falling snow by
flicking paint from a toothbrush. To add snowflakes to a pastel painting, place it
on a flat surface. Use a knife to tap the pastel stick to add random dots of light Join Johannes
gray pastel throughout. Ensure they adhere to the painting by laying a piece of Vloothius each
Glassine paper on top of it before applying heavy pressure in circular motions month for live
with the heel of your palm.
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ArtistsNetwork.com 71
 Open Book

Setting Limits
When artist Carol McSweeney
(carolmcsweeney.com) first
began painting with watercolor,
she used traditional colors for
skin tones and hair. With time
and experience, however, her
desire to experiment grew.
“I now enjoy choosing unique,
mostly transparent versions of
the primaries—red, yellow, blue—
and then will play with them
on paper to see how well they
complement one another,” she
says. “I might rotate colors until
finding a satisfying combination
and then add a few tube colors
for accents.” It’s an approach
that helps the artist create
dynamic portraits, such as
Tightrope (15x11), in which the
colors are vibrant but cohesive.

72 Watercolor artist | FALL 2023