The Art of Watercolour Release 32 begins with the news celebrating the creation in the United States 100 years ago of the National Watercolor Society. The usual sections follow with the revelations : French Philippe Lhez, Canadians Kathy Bunze and Carole-Anne Almquist, Spanish Joan Coch Rey. and the discovery of Ali Sarrmadi , without forgetting the favorite painting of   Marc Folly and the latest paintings from 8 artists.

Chinese Richard Chao paints portraits that reveal the inner world of her models, while the Australian Christine Porter takes us through the Australian regions and Jean-Louis Thibaut on the Norman landscapes.

The portraits with a supplement of soul are worn on the full pages of the portfolio of Dean Mitchell. Nwe meet the realist Angus McEwan whom we have known for several issues, and another British landscaper, Brian Smith.

Two Americans are interviewed: Linda Hutchinson and Nathan Fowkes, as well as the architect Malcom Carver.
At the end of the magazine, the "know-how" of Lok Kerk-Hwang which presents several step by step.

The News

Dan Simoneau, Prince. 54 x 54 cm

100 years of the National Watercolor Society in preparation

Founded in 1920, the NWS was first named the California Water Color Society. The name of the Society has since changed twice: first in 1967, to become the California Watercolor Society, before becoming the National Watercolor Society in 1975

    The NWS Slogan, Advancing Water Technology Since 1920, is more than just words. We have two annual shows: our members' juried show (for which entries take place from February 1 to March 17) and the annual, international NWS show, which takes place every winter.

Although the NWS is a company that organizes exhibitions, we have always had an educational component.
In order to make our collections accessible to the public, the NWS lent 25 paintings corresponding to the beginnings of the society (i.e. the years 1925-1954) to the Los Angeles Museum of Art.
We will then collect these paintings and exhibit them along with twenty-five paintings selected from the works of NWS members. Our future plans include hosting streaming demos, as well as talks and workshops available to all of our members around the world.

For several years now, the NWS has organized major international exhibitions for its members, in Wales, Belgium and China. We will try as much as possible to develop these interactions with international companies in order to increase the reputation of our members outside our borders.    

Page 16 KEN GOLDMAN, its president.

Denny Bond, Twisted. 31 x 76 cm..

Jean Hyland, Leaning Toward Red.38 x 56 cm



Le Monfaucon, 20 x 20 cm.

French Philippe Lhez

    I draw a lot on the ground, and I paint there less and less. I often paint the same subject three or four times, varying the method, the composition, the chromaticism, in short by bringing in the next watercolor the enrichments revealed by the previous one.

I don't paint fast. Certainly, if watercolor knows how to quickly get to the point, is it condemned to the only way of suggestion, of pochade? I walked a lot in our central Pyrenees, and often too fast.
The appreciation of the effort really necessary for the ascent is blurred by the ardor deployed and one suddenly wonders why to go so fast.
So I stroll over my work as one would walk in our mountains, I daydream there, I organize it, I prepare myself for it, that will not prevent that at the bend of the path, it will be necessary to compose with field. I try to stay between two pitfalls: that of saying too much and that of saying too little.

I'm still more talkative than silent. To say too much is to offer a slightly sickening, suffocating watercolour, to say too little is often to mask one's inability to show the subject, by drowning it out, by dissolving it.   

Page 18 Philippe Lhez

Big White Egret, 2016,38 x 28 cm.

Canadian Kathy Bunze

    What attracts me above all is the way you can create light effects, as well as the fluidity of water and pigments. All of this creates a magical flow of color wash. One can therefore never predict the result of his final painting, which is a great challenge.

After raising my family and becoming interested in fine art, I quickly discovered watercolor and fell in love with the technique. I have been painting since 1989 and have been more diligent in my practice for five years.
Although my subjects are flowers, people and animals, I love the challenge of new themes, ideas and techniques. I use Arches and Waterford fine grain paper. My pigments are an assortment of Winsor & Newton, Schmincke and Daniel Smith. My palette includes a warm and cool shade of the primary colors, plus a few others, depending on what my painting dictates.   

Page 19 Kathy Bunze

Florida II, 56 x 76 cm.

Canadian Carole-Anne Almquist

    Painting for me is a meditative process and as an introverted person it is a means of self-expression. I discovered watercolor in 2009 and with it came a deeper attachment to fine art. The spontaneity and impression of light in watercolor cannot be found in any other technique. I'm really passionate. My desire is to instill in the viewer a sense of tranquility and peace. You have to have a zen attitude when it comes to watercolors.
You need to take a step back and let things happen on their own, and not try to control her. I paint different subjects based on the ideas that come to me. Working outdoors is particularly pleasant and I am a member of the Urban Sketchers.
I paint mostly with transparent colors: phthalo blue, ultramarine blue, mineral violet, aureoline, Hansa yellow, sepia, permanent rose and translucent Schmincke orange.    

Page 23 Carole-Anne Almquist

Orage d’été, 26 x 26 cm.

Spanish Joan Coch Rey

    I discovered watercolor at school, then I worked as an interior decorator, at a time when computers did not yet exist.
Two elements are essential to understand my watercolor technique: the drawing and the speed of execution. My goal is to reach, in a very short period of time, a more creative vision of my subject, by synthesizing the elements that compose it. Sometimes that means conveying something more sentimental than graphic, if the subject calls for it.
My intention is to achieve a more creative vision of the subject by using a synthesis of the elements that compose it, conveying something more sentimental in some cases, graphic water being the most sensitive way to achieve this.
The evolution of my work has always followed the direction of simplicity of gesture, seeking the synthesis of the subject and to arouse more emotions through my paintings. I think I'm getting closer to abstraction, always with the same style. I have recently been attracted to large formats and themes more versed in the imagination, and I find a great source of inspiration there.   

Page 21 Joan Coch Rey

Abstract landscape. Watercolour, gouache and Indian ink on paper, 42 x 60 cm

French Ali Sarmadi

    I was born in Tehran. After my baccalaureate at Razi high school, the French high school in Tehran, I continued my studies at the Beaux-Arts in the same city. For a diploma project, I traveled to several provinces of Iran, and especially to desert cities, such as Yazd, Kerman, Bam. I then became passionate about Persian art, architecture, ceramic mosaics, miniatures, calligraphy in architecture... And I also did some research on different subjects such as calligraphy and architecture, geometric designs, brickwork, woodwork on old doors...
In abstract art, we are forced to look at a painting quite differently. To meditate on it, to feel it, as one listens to music, with large surfaces like low-pitched sounds, lines like higher-pitched sounds and dots like short fleeting notes. And the way all these notes and these sounds are layered, are organized in a composition, gives a picture that we can look at and listen to, experiencing pleasure. When the painting is figurative, we also listen, only we see a precise image, which shows us or evokes someone or something. Personally, I prefer when it's a little in between: an abstract painting that suggests images.    

Page 90 Ali Sarmadi

Pottery of the Not brothers, Watercolor, 35 x 35 cm.

Marc Folly's favorite painting

THE SUBJECT: I took as subject a pottery workshop, near Castelnaudary: that of the brothers Not. Although this is a theme that I have already been able to deal with in the past, I remain just as attached to the world of workshops. I particularly appreciate the strong contrasts of light, the chiaroscuro lighting and the powerful shadows which, by contrast, bring out the dazzling whiteness of the paper.
A watercolor is developed in three phases: the first is the drawing (usually in HB pencil), followed by the first washes which allow me to delimit the shadows and the lights. Next comes the actual coloring.

I started with a combination of two complementary colors: orange browns, highlighted by small touches of blue that come to awaken the composition and bring chromatic dynamism.

One of the paradoxes of watercolor is that to better mark the presence of certain forms, you should not hesitate to remove them. This is something that beginners have a hard time admitting, but you actually have to place the colors and then erase them.

Page 88   Marc Folly

My last painting

These artists have already been published in the Art of Watercolor, we find their last painting.


Jean-Claude Papeix
60 X 50 cm

The subtlety of the colors and the abstract forms makes it possible to produce original works.


The jug of water and red currant,
  Elena Bazanova
47 X 55 cm

I tried to paint my subject in such a way that it retains its freshness and light, through shapes and colors.


Kavalan grandmother
  Chen-Wen Cheng
153 x 101 cm

Her peaceful smile reminds me of my mother who passed away.


Looking down Stony Lane
Paul Banning
58 X 78 cm.

I have painted this scene many times, at different times and different seasons, and I still want to paint it.



Night Hoops,
   Stephen Quiller
84 x 63 cm

This painting takes me back to my childhood, when I played basketball with my friends, all year round, outside the house


Ajaccio Christmas market
Jean-Luc Mossion

I treated this scene against the light, in a reduced palette of blue and earth


Aran Visit,
  Linda doll
76x56 cm cm

This watercolor was painted with only three colors.


City of Gold,
Jean Martin
51 X 71 cm

City of Goldwas painted in several stages, between spring and autumn.