20th issue of the Art of Watercolour was released in december 2015. In the news section, meeting with the Japanese Watercolor Society chaired by Ryoyu Fukui.
Three artists are revealed: the Belgian Fernand Thiepondt, member of watercolors in North and the Russian Sergey Kurbatov, and at the end of the magazine, French Olivier Oudard, without forgetting the "favorite painting" of Alex Powers, followed by 8 artists with the heading "My last painting".
Rendez-vous at the inspiration site for the French Théo Sauer, then we learn how to evolve as an artist to "become a successful artist" by the group of artists composed of Janine Gallizia who also delivers us in pages 84 to 87 "the keys to success" and Mark Mehaffey, Chen Chung Xei and David Poxon.
The portfolio of the Thai Direk Kingnok, the free touch of the Romanian Corneliu Dragan and the artist's life of the Turkish Orhan Gürel .
Meeting in the studio of the American Katherine Chang Liu who practices abstraction in mixed media and with the monochromes of the Russian Dasha Rybina who discloses to us the secrets of monochrome.
A file about John Singer Sargent and his followers: Iain Stewart, Ted Nuthall, Lucy Willis and Keith Hornblower.
Finally, the technical section with the textures of hongkongai Stephen Yau, then the readers' contest which rewardsClaude Carretta.
The JWS, founded in 2010, has a relatively shorter but still prosperous history compared to other Japanese companies. One of the highlights was the celebration of his first five years. As specified by Ryouyu Fukui , president of the JWS: "The company is run by artists who each in their own way promote watercolor, both within our borders and abroad.The JWS actually plays the role of a pole that supports each of its members globally by announcing their exhibitions and the output of their works."
The Brioude Biennale
Eight thousand visitors, 370 works sold for this summer biennale in which participated Marc Folly, Pascal Pihen, Yves Coladon and Tom Joseph.
The fact that we are at the 7th Biennial - with many things already seen in previous editions - made us want to really go to different things.Page 12 Sylvia Crozemarie, president of the biennale
The Belgian Fernand Thienpondt
I consider watercolor (and any form of art, for that matter) as a way of living more intensely, learning to better "see" and "feel" what surrounds us. This is reflected in my "observations of nature".
In my works, I strive to create captivating scenes with the light, the choice and the values of the colors, the atmosphere and the movement.Page 16 Fernand Thienpondt
Russian Sergey Kurbatov
I like above all to paint the snow; from November to April, everything is covered. According to the light and the time, it sports many nuances, very subtle.Page 17 Sergey Kurbatov
My palette depends on the subject that I paint. But I mostly use yellow ocher, scorched Sienna and indigo. Most of the time, I use 2-3 basic colors and 2-3 additional colors.
The French Olivier Oudard
2nd winner of the permanent competition, Olivier creates living portraits.
I start with a pencil drawing, more or less precise, depending on the characters I represent: when it comes to people around me, they must be perfectly recognizable, which is the last of my worries for other models. I do not really know where I'm going when I start a painting, I usually start with the face, which is the only part that I feel I'm getting a little bit under control, and then I'll try to put it on better value, with the clothes, the background and any accessories, playing on the color chords and especially on the values.Page 96 Olivier Oudard
Alex Powers's favorite painting
I found the posture of the dancer, with her leg raised, very interesting. At the same time, I did not want my painting to be set in a dance studio ... or, in fact, any other predictable place. At the time this dancer - called Ivey Hill - was posing for me, I came across this old Victorian house. Also, the decision to unite these two subjects was, so to speak, imposed on itself. In fact, the question that one can legitimately ask is the following: but why does she dance in front of a house of the end of the nineteenth century? My painting had to work visually.Page 88 Alex Powers
My latest painting
These artists have already been published in the Art of Watercolor, here are their latest painting.
The receding tide in St. Malo, Chris Robinson
It was a very easy exercise of value and depth, which allowed me to avoid the temptation to get started immediately in a very complex subject.
Tales of Wheel N°4, 76x54 cm Lok Kerk Hwang
I focused on rusty wheels and wicker baskets, all on the back of a busy street.
Surfaces and Edges, Barbara Nechis
49x55 cm. Aquarelle, acrylique, Encre
I like this picture because the abstract is a completely different genre for me, as well as for its use of sumi-e ink and a surface that I did not know well.
The Hall of Mirrors in Versailles immersed in the light of fairy tales, Paul Dmoch
I am fascinated by the lighting, the importance of lighting and light in painting. To learn the game of light is to forget oneself and to strip one's own mind-body and that of others.
Passage, Marie-Line Montecot
I let myself be guided by my inspiration, having no preconceived idea of the composition, but rather inspired by the love of the mountain and the taste of the great landscapes that inhabit me.
Green Land N°8, Tan Suz Chiang
My challenge here: to paint with a palette of greens, a color with which I am not used to working.
Blue Blue Morning, Thomas W. Schaller
This painting is entirely the product of my imagination. In fact, I dreamed it. It happens to me sometimes: I wake up with the desire to draw my dream before forgetting it or even before trying to analyze it.
The spirit of the place with Théo Sauer
Theo roams the industrial wastelands to take possession of them and to restore them in shades of bright gray. To paint them, he must visit them himself and feel them. He protects his works with a polyurethane matte varnish special fine arts, guaranteed without yellowing. Several layers are needed, sanded one after the other, the last is stamped. This protects them against time, water and even mercurocrhome.
While visiting the abandoned places, I always have a small adrenaline rush. Not reassuring, they seem haunted by their past. Later, finding myself in front of the blank sheet, I feel the same excitement but also new sensations. I imagine all human activity, smells, sounds.Page 26 Théo Sauer
The alchemy between lights, colors and textures gives meaning to my work. I especially like the space and perspective of industrial buildings, sometimes monumental, sometimes minimalist.
Demo: a transparent canopy
- I draw the structure in pencil before going from drawing gum on the amounts of the canopy, as well as in the foreground, bottom right. I then start with my first colorful juices.
- The drawing gum is used to hide the areas on which I will return then through different wash. I thus masked in places the metallic structure of the greenhouse.
- Using different mixtures of greens, I put in place the background of greenery, which is intermittently seen through the tiles.
- I skin my details, adding foam and rust.
Why and how to evolve as an artist
The testimony of four renowned watercolorists gives their analysis, their reflections but also their doubts on this subject which touches us all.
At the heart of each great artist, we find the faith, the unshakeable belief in his capacity and his ideas . This is where the soul of an artist is nested. Having a good technique and being able to arouse emotion are not the most important elements to success, and today, in my opinion, we put too much emphasis on this in the classical teaching of the arts. It's not the "how" but the "why" that needs to be grasped by the aspiring artist and today most are committed to becoming technically brilliant at the risk of losing what allows one to evolve throughout of life: con fi dence and inner vision.
Evolution is essential for me, otherwise why paint? Why get up in the morning if you do not have the desire to evolve? I try to be a better painter and a better person every day. My personal evolution depends on this because painting is one of the means I chose to express myself. There are many painters, but few artists. I do not judge by saying that because there are brilliant painters and "void" artists and vice versa, and room for all.
I want my paintings to come from emotion. From the heart, I am first a designer, so I would like to combine the two techniques, perhaps even putting the drawing forward. I do not have the ambition to acquire the most impressive technique, to create a new style or to wear watercolor at the highest level ... I want to be able to look at my paintings and recognize myself in them, but at the same time I am not there yet.
Page 32 Janine Gallizia
On Deck 2004
His evolution over the last five years has been to release his forms and combine them with a subtle use of color, values and forms in order to give a strong emotional charge to his paintings.
Three Bicycles 1 2006
I believe a lot in the power of the mind. After all, if you do not know what you want, how do you get it? My goals are very clear in my mind, I know what I want, I believe in myself and in my painting and the results follow.
End of a Cycle 2009
J’ai peint cette œuvre dans ma toute petite cuisine, à l’époque où j’habitais en Belgique. Mon déﬁ ici : maintenir un dessin juste tout en laissant la technique picturale dominer le sujet.
I believe as a painter that change must be invited. Staying still while painting the same subjects in the same way will lead to some technical mastery ... but without the alliance of heart, mind and hand, you will lose your heart.
If you like what you do, continue by all means. But as we age and change, so too should our work. As a painter and in my personal life, I have varied and sometimes contradictory interests. This led me to a multitude of conceptual and technical approaches to make paintings without ever limiting myself.
I have several methods (my artist friends think I have many personality disorders), multiple concepts, and a large number of paintings begun years ago. I am not driven by technique, but rather by ideas. This means that I freely change the way I use painting to adapt to my idea and not the other way around.
Page 34 Mark Mehaffey
I saw how good it was to evolve and I like to share this feeling with others. Everyone has different personalities and values, and no one can better understand your situation than you; you must learn to listen to yourself. I'm lucky because I have clear ideas about my personality and values, so I set goals based on that.
Between 2002 and 2012, I produced with difficulty each watercolor but without ever stopping the demonstrations in class. I even thought I did not really understand the art of watercolor until the last two or three years. The problem is not found in the chosen technique, but in the imagination put at the service of the image. I emphasize the expression of nature by using the characteristics of the mediums. So, I do not like realistic watercolor, and especially hyper-realistic, which looks like a photo. The more realistic the painting, the less watercolor is pleasing. I like the unique charm of watercolor: use large amounts of water to make projections and drips, paint dry on dry to leave textures very apparent.
Page 36 Chen Chung Xei
My own practice tries to show something that goes beyond an attraction for the surface; sometimes, it works and other times not - this is the constant dilemma of the watercolorist! However, when a painting really "works", there is a resonance that goes beyond the pictorial plane and the subject, which touches the spectators and transcends the simple visual experience. To account for the "reality" of my subjects, which are the everyday, humble, neglected things, objects and workplaces of man, is an experience that is both powerful and stimulating. I feel a full and respectful excitement at the beginning of each of my works. I already felt that when I was a little boy but I did not have the words to say it. But the embers of inspiration are still glowing today.
Page 38 David Poxon
I am much more comfortable with landscapes that I know. It is from the ambient atmosphere that I feel the desire to retranscribe them in watercolor.
I try to fill myself with my motive and to feel it deep inside me. There are not many rules that I am in watercolor.
Also, not to take into account is not for me a big problem. I often paint outdoors.
The two main drawbacks of watercolor on the motif are light and concentration. To fix this, I take snapshots using my camera.
I think that only the reactions of the spectators are the measure of this success. I would like to emphasize the evocative power of light. My goal in fact is that the spectators feel the light, and therefore the atmosphere, as I have experienced them myself.
Page 40 Orhan Gürel
- I begin with a sketch in pencil. This is not always the case, it happens sometimes to me to launch directly in the painting. Here, these are only landmarks for my future forms.
- I first place my background, both clear and transparent. The sky and the sea are of the same value, with some darker shades in the foreground.
- I put my first colors and the first shades. A yellow-green helps me to represent the bushy vegetation. The same color is repeated in several places of the composition in order to maintain my color harmony.
- I focus again on the shadows - which bring strong contrasts of value - as well as on the background. I also draw the secondary elements that will animate my composition, such as the roofs and walls of the facades alternating between those in the shade and those in the light.
- I accentuate the shadows a little more and I specify my forms with a few parsimonious touches of color: purple in particular, complementary to my green-yellow.
- The last highlights are brought. I "close" my composition by adding trees on the left side. The boats in the cove are placed with white gouache tips.
The portfolio of Direk Kingnok
My paintings speak above all of what I see and the impressions I feel during my travels. Many people who see my paintings talk about it in terms of composition, the life that is shown and the emotions of the moment. It is true that all these elements are things that I take into account when I paint.
I like to mix my colors. I think that the color and the way an artist uses it shows his progress and his thought. It helps me to convey my emotions to the viewer.
Page 53 Direk Kingnok
Born July 3 in Nakhonratchasima, Thailand
Begins watercolor in 2003,
first solo exhibition in 2001
Corneliu Dragan The light comes from the inside
I fell into watercolor five years ago and since then I have been painting eight hours a day, five days a week. I really like that and I would like it to become something natural, like eating or even dancing. I can not say whether I consistently apply the same technique from one painting to another; everything depends on the subject and especially, especially the moment. Each watercolor is a challenge, and sometimes it defies a happy ending very quickly, while at other times more work is needed.
I think that in urban scenes, perspective is the most important thing. Then free to everyone to decide if we want to focus on the buildings, the busy streets, the light and the general atmosphere ... The artist makes choices and can at leisure remove an element, highlight it or on the contrary, diminish its range.
Page 55 Corneliu Dragan
Katherine Chang Liu The way of abstraction
I have never been a purist ... even at the very beginning. I did not receive any academic training, so I never really knew what the watercolor tradition meant. I have always used what I needed. I mix charcoal lines with watercolor, because I like the fuzzy side of the outline lines that it gives. I also use collage to attract some places. As for the watercolor, I use it as it is, that is to say without mixing it with anything other than water.Page 55 Katherine Chang Liu
Painting under a microscope
- THE TITLE AND THE IDEA BEHIND THE PAINTING: "Is There Anybody Out There" is the verse of a song of my favorite band, Pink Floyd, Comfortably Numb, about my drug (on the album The Wall, released in 1979 - Ed). But the painting itself has nothing to do with the awareness of a person addicted! It has more to do with the question from an astronomical point of view: are we alone in the universe? This is one of the questions I have been asking myself since I was a child. It was the idea behind this painting.
- PAPER COLLAGE: The pasted elements on the board are images taken by different telescopes, Hubble among others. My painting seeks to speak about this quest for the Other and our place in the universe.
- THE SQUARE FORMAT: For years, I painted on rectangular formats. And then, one day, I finally wondered why I restricted myself to the imposed format of my sheet. From that moment, I stopped sticking to the size of my support. Recently, I have embarked on square works that are for me a most challenging challenge. But maybe that will change too?
Dasha Rybina The secrets of monochrome
The monochrome works are my interest of the moment. At one point, I got tired of working with color. I like old photographs, and thanks to the new imaging technologies, they have no secrets for us today. They are the ones who inspire me for my works. I like what they show and what they hide, which is erased. Black and white can be very expressive. But the composition of an image is what is most important.
I draw almost every day. I work in my black and white paintings at home, after traveling where I have collected new ideas. I spend between 2 and 7 days on a work, not counting the drawing. For my monochrome works, I use two tones: black Chinese ink and black watercolor. This makes it possible to obtain very deep blacks.
I first create a sketch that will determine the future work process. Since I detail the architectural buildings quite precisely, the first thing I do is to transfer my sketch to the sheet because accuracy is very important.Page 55 Dasha Rybina
Almost 32-year-old, she is the youngest Russian artist seen in AoW 17.
John Singer Sargent , Watercolor as a legacy
John Singer Sargent (1856 - 1925) is a prolific American painter who composed more than 2000 watercolors.
His watercolors show the realities that delight the eye and from time to time pose a veil of imagination on these realities, suggesting something deeper than the reasons why his watercolors are celebrated today. They have a feeling of impromptu, as if the artist had stumbled upon a scene and had translated it into painting. He was the opposite of an "image maker"; his watercolors are fragments, pieces which he has removed from the visible world because they pleased his eye, and not because he was a picturesque subject or evoked an atmosphere.Page 68 Evan Charteris
Four watercolorists who, to varying degrees and for different reasons, were influenced by Sargent, explain the reasons for this attraction.
Iain Stewart, See the shapes before the subject
Sargent painted what he saw. His sense of composition and his mastery of watercolor are simply breathtaking, but above all I remember the idea of painting the feeling of being in a specific place and not the place itself. In my studio work, for example, I try to make the lights as I remember when I was on the ground. But the constraint is to spend a lot of time outdoors; if not, then you run the risk of painting fancy things that are not based on observation.Page 68 Iain Stewart
SKETCH ALL IN FRESHNESS AND SPONTANEITY
- The first step is to make a sketch to place the main shapes. I often keep my pencil lines - like Sargent - some will disappear under the paint anyway. I draw with 2B or 4B pencils that I do not cut in order not to go into too much detail; it also gives a living side to the line.
- I start with warm tones (Sienna burnt and Sienna) and cold (cobalt blue), taking care to get around my whites. I let the colors blend on the sheet, while playing with clear water to recover my whites. I always have a vaporizer with me to bring in moisture. Generally, I use the same tones for the sky and the foreground.
- Once the paper is dry, I mix three buckets: the first is a mixture of ultramarine blue and red English earth, the second of burnt Sienna and the third of the umber with a hint of ultramarine blue. Sargent advocated always having enough paint ready. Here too, I let the colors play on the sheet. Clear water is used to adjust the values of my mixtures.
- I reinforce my shadows and I paint negative forms to anchor my scene. I use the same mixes and my shadows are enhanced with neutral hue warmed with burnt sienna. I am interested in suggesting textures such as eroded wood or tin roof. Once my leaf dries, I wet with clear water to raise some necks and to give highlights to my shades.
- Everything is played in the last step. I start by adding water and reflections at the same time. For this, three colors: a mixture of undersea green and burnt Sienna, another based on Sienna and burnt Sienna, and the shade previously used (based on ultramarine blue, carmine d alizarin and Sienna). Again, using a wet brush, I make a few highlights and a sheet of paper towel helps me to get textures.
- THE FINAL WATERCOLOR: My last dark hues are based on neutral hue; I then add some highlights with a mixture of cadmium yellow and scarlet cadmium red. I end with some splashes, some forgotten highlights and finally projections of white China. Like Sargent, all means are good to get the desired result!
Ted Nuthall, transparency and opacity
I myself am a big fan of the transparency of watercolor and the effects it produces. In fact, one of the results I would like to achieve is to make the darkest shadows as transparent as possible. I also want to keep the white paper for my whites, whatever their size. Instead of waxing or drawing gum, I take care to get around and preserve my details - something Sargent did not bother about!
What I saw and read about Sargent's works convinced me that he worked tirelessly to compose and build his works, adding at the very end of his work reckless touches that make an impression of naturalness and spontaneity. This is something I really observed at home and tried to implement in my own work. Even today, this is an aspect to which I attach great importance.Page 72 Ted Nuthall
Lucy Willis, Shadows and lights
I knew the portraits of Sargent before discovering his watercolors. It was a revelation. I learned from watching them that it is quite possible to make an interesting watercolor by painting only a wall or an open door; it suffices simply to observe the shadows and the lights. Before discovering his work, I was already using similar techniques, but it was by seeing his studies painted in Italy that it reinforced even more my desire to go in the same direction. I have thus observed its use of color and the way it makes light reflections, its economy of keys. Like him, I try to avoid overloading details.Page 73 Lucy Willis
Keith Hornblower, Render light
As an architectural illustrator, my work was necessarily detailed and detailed, but seeing the watercolors of Sargent was like a breath of fresh air. My work has become more spontaneous and freer ... and still is today. To paint with the minimum of touches is for me the Grail of the watercolor, but as I am human, I never succeed at the first stroke and adjustments are therefore always necessary, adding this or removing that.
The most important thing is to remember what attracted me to the subject in the first place. You must never lose sight of this initial point along the way. It is very easy to be distracted by the details. Be brave and take big brushes!Page 74 Keith Hornblower
Sargent made me understand that it is possible to capture a scene without having to include all the details. If the values are right, the painting will work. Overlaying the keys, adding spots and complementary color contrasts results in common mortals in an incoherent magma, but in Sargent, it works. As a nod to the Impressionists; I know he had met Monet and it shows in his later paintings.
Pearl merchants in Morocco: a subject that certainly could have painted John Singer Sargent during one of his many trips. Far from pasticher his style, Keith Hornblower explains to us how to work in the manner of the master: to paint what we see, neither more nor less. As the artist himself says, "trying to render in one watercolor all the know-how that Sargent has developed over the course of his entire life is obviously doomed to failure. an interesting exercise. And funny !"
Render textures with Stephen Yau
Creating a theatrical atmosphere is the creed of Stephen Yau's painting. To do this, rendering details and textures is of utmost importance.
I tend to mix my colors rather than taking colors already prepared. In addition, I mix my colors as well on my palette as on my Arches leaf. A color in itself is not as interesting as the effects you get with the one you put on the side.
I like the realistic style, it's true. And retranscribing all the details allows my watercolors to deliver a message of love, peace and harmony. I think it is the duty of every artist to send a message through his works. A work of art can influence people, both positively and negatively. In fact, I will classify my style as "realistic romanticism". And I paint one painting after another ... generally, I need several days to finish a painting.Page 78 Stephen Yau
HOW TO GET EFFECTS WITH SALT?
Salt is ideal for achieving crystallization effects in a background. Avoid coarse salt, whose crystals absorb too much color and have a hard time dissolving completely. The difficulty is to judge the right humidity of the support: too early and the salt creates exaggerated big stars, all the more unsightly if the grains of salt are too close together and merge. Too late and salt does not have enough water to absorb, reducing the effects. Everything is therefore a question of "timing".
THE CUTTER, A PRECIOUS TOOL
At the end of my work, I use the cutter. So I can delicately scrape the surface to get highlights on the edges of hollows and craters.
Step by step Memories 38 x 48 cm
- The preparation of the sheet: I start by putting fine sandpaper on my sheet, then I wet it, both front and back. Then, I spend various washings based on cadmium yellow, cadmium orange, burnt sienna, burnt shade and cerulean blue. I work wet on wet and from dark to light.
- The door handle: I focus on the lock and door handle while working wet on dry. For this, I use the following colors: burnt sienna, burnt shade, cerulean blue and indigo. I do not forget the shadow on the left, to bring not only contrast, but also depth.
- Enhance the details: I come back to the details. I paint at this stage dry on dry to make the textures.
- A wash to unify the shadows:I finish the last details. I then put a light wash on the shadows, composed of the mixture of the same colors used for my subject. I complete the details of my textures using projections, dry technique dry.
starting signal. 30 x 40 cm. Claude Carretta
3rd readers' contest
This painting shows a great mastery of watercolor, both of technique and composition - and especially the red buoy that perfectly balance the strong image of the boats on the left. There is no superfluous detail, and I feel the richness of the narration. Everything is in its place, in connection with the corresponding elements. It's a watercolor that can be hung on a wall and appreciated as a nice looking marine.Page 90 Chien Chung-Wei
The competition is open to all readers of the Art of Watercolor aged 18 and over residing in any country in the world. It is limited to one participation per person throughout its duration.
The theme of thenext contest is portrait; contest is quarterly.
Playa de San Martin. 2015. 40 x 80 cm. Javier Zorilla Salcedo (Madrid)