COLOR

WORKSHOP
BY ROBERT

WOOD

E.
AND MARY CARROLL NELSON

TECHNICAL EXERCISES, STEP-BY-STEP DEMONSTRATIONS,

AND INNOVATIVE APPROACHES FOR THE WATERCOLORIST.

WATERCOLOR

WORKSHOP
BY ROBERT

E.

WOOD AND MARY CARROLL NELSON

Watching an expert watercolorist at work is not only

is one of the best ways to
a stimulating experience,
learn new techniques Through this book, the reader
it

invited to participate in a painting workshop with

Robert E Wood, famed California watercolonst, as he
demonstrates his unusual approaches to this chalIS

lenging medium.

The

artist

strategy:

begins by discussing his general painting

how he approaches

a painting, preliminary

sketches and brush drawings, technical decisions,

and painting organization

Then the reader is invited to paint along with Wood
as. in each chapter, he explains and demonstrates one
ol his special techniques. Each chapter begins with
a discussion ol the concepts and techniques that will
be used in the particular painting problem To visually
clarify the discussion. Wood presents one or more
technical exercises bnel sketches or paintings that

enable the reader to both practice and perfect his

technique before moving on to the full painting demonstration that follows The areas covered in this work-

shop include the glaze (wash), the silhouette, basic

design, organization of subject matter, middle painting
values, dry and wet lift-off to regain lights, value for
dramatic

and

effect, texture, abstract

spatial concepts, finding

underpainting. depth

new compositions, and

painting figures,

Walercolor Workshop offers the beginning or professional watercolorist an enthusiastic, informationto new approaches in watercolor
enhanced by many fine examples of
finished paintings that amply illustrate the watercolor
wizardry of Robert E. Wood.

packed guide

technique,

176 pages. 8'A x 11. Over 125 black and white

32 pages in full color. Index,

trations.

WATSON-GUPTILL PUBLICATIONS

illus-

OTEIRCOLOE WORKSHOP

WATEECOLO
BY ROBERT

ftc^rr

E.

WOOD AND MARY CARROLL NELSON

l^li>M61>

fkJiiU^--^
WATSON-GUPTILL PUBLICATIONS, NEW YORK
PITMAN PUBLISHING, LONDON

Copyright
First

1974 by Watson-Guptill Publications

published 1974

the United States

in

a division of Billboard Publications.

One

Astor Plaza.

Published

in

New

Great

York. N.Y.

by

Britain

Sir

and Canada by Watson-Guptill

Inc..

10036
Isaac Pitman

& Sons

Ltd..

WC2B 5PB

39 Parker Street. Kingsway. London

ISBN 0-273-00859-5

rights reserved No part of this publication

may be reproduced or used in any form or by any means

All

graphic,

electronic, or mechanical, including photocopying, recording, taping.

or information storage

and

retrieval

systems

without

written permission of the publishers.

Manufactured

in

USA.

Congress Cataloging
Wood. Robert E 1926Watercoior workshop
Library of

Mary

Water-color painting

7514 22

ISBN 0-8230-5682-1
First Printing.

Second

1974

Printing.

1975

Publication Data

Technique.

Carroll, joint author.

ND2420W66

in

II.

I.

Nelson.

Title.

74-10938

Publications,

To those

who share my

watercolor love

Contents

1.

Prepainting Thoughts, 11

Gathering Information, 11
Sketchbook, 1
Large Brush Drawing, 15
Abstract in Nature. 18

The
The
The
The

Thumbnail Sketch, 21

Color Studies, 22
Technical Decisions, 22

Mental Plan, 25

Valid

Reasons

2.

26
28

to Paint,

Painting Value Plans.

Materials, 33

Paints,

33

Brushes, 34
Palettes, 34
Watercolor Papers, 34
Mounting Boards, 34

Paper Stretching, 35
Easels, 35
Miscellaneous Materials, 35
3.

The Glaze and

Silhouette,

39

Indirect Glaze, 39
Granular Wash, 40

Staining Colors, 40
Direct Glaze,

Warm and

40

Cool Contrasts, 42

Color Unity, 44
Building the Glaze. 44

DExercise: The Glaze, 48

DExercise: The Silhouette, 50
DPainting Problem: The Glaze and Silhouette, 53
4.

Design Unity, 57

Subject Matter, 57
Design Elements. 58
Major Design Goals, 58
Combining Elements, 59
DExercises: Static. Curvilinear, and Diagonal, 60
DPainting Problem; Introducing Subject Matter, 64

5.

Structured Middle Values, 71

Painting Middle values, 71

DExercise: Middle Values and Saved Whites. 75

DPainting Problem: Using the Middle Values. 76
6.

Regaining the Lights, 83

Methods, 83
Methods. 84
DExercise: Practicing Dry Lift-Offs, 86
OExercise: Practicing Wet Lift-Offs. 87
DPainting Problem: Rustic Cabin, 88
Dry

Lift

Wet

7.

Lift

Dramatic Staging, 97

A Key

to Value Control. 97
DExercise: Colored Value Plans, 99
DPainting Problems: Value for Dramatic Effect, 100

8.

Surface Variation, 105

Anything Goes, 105

DExercises: Discovered Patterns. 106
DPainting Problems: Displaying Textures. 107
9.

Abstract Underpainting, 115

DExercise: Finding an Abstract Design. 117

DExercise: The Abstract Underpainting. 118

DPainting Problems: From Abstract to Nature, 120

10.

Space Concepts, 127

DExercise: Line and Wash Spatial Study. 129

DPainting Problem: A Statement of Space. 132
11.

Painting Within a Painting, 135

DExercise: A New Composition. 136

DPainting Problem: New Painting from Old, 138
12.

Figures in Painting, 143

Stylistic Control.

143

Sketchbook Rewards. 144

DExercise: Brush Sketching. 146
DPainting Problem: Starting with the Abstract. 148
13.

Theme and

14.

Robert E. Wood:

Variations, 153

Profile of the Artist, 161

Biography and Awards, 169

Painting Credits, 172

Index, 173

Acknowledgments
I

would

like to

thank

my many

behind-the-scenes organization

understanding

who

kept up their end-

and

less pressure

by asking "When

building this book. For their pro-

students

your book be out?" To Don

Holden, Editorial Director of
Watson-Guptill Publications,

will

appreciation for
patience during

his

my

years

of

long pro-

crastinations. Without the back-

ing

and

fine

assistance
son,

my

of

technical

Mary

talented

writing

Carroll Nel-

co-author.

have found the

courage to start this project. To
my working editors. Diane
Casella Hmes and Jennifer
never would

Place,

wish

to state

my

ap-

preciation for their long hours of

their

in

fessional help with the bulk of

the color photography.

give grateful thanks

over the chores

as

thank

Doyle Courington and

Segovia. To Joni, my
for

David
wife.

taking

my

first

and typist and for just

putting up with me during the
months of my isolation in the
studio. To my dear mentors.
Rex Brandt and Phil Dike,

editor

thanks for their years

support and encouragement
that finally persuaded me to get
heartfelt

of

Watercolor Workshop into

print.

^--^Hiji^ji #,

10

WATERCOLOR WORKSHOP

Prepainting

1.

Thoughts

Lakeside Trees. White drawing

paper. 18" x 24". I painted ttiis
quicl<

study of the character and

structure of the trees just

my

below

studio with a limited palette

of burnt sienna, phthalo blue,

and yellow ochre. intentionally

worked close to the subject to
capture the details and stylized

I've

searched

for

a selective

distribution of details

and bold

accents rather than simply

filling

take you to paint that

it

My

painting?"

"About

quick reply

It

certainly

meet the exciting chal-

effort to

lenge

of watercolor.

is.

hours and 25

ttiree

years."

character of the scene.

been asked, "How

often

long did

doesn't take 25

Gathering Information
You can only paint what you
know.
begin painting the
I

years of preparation to paint a

successful watercolor, but
more than any other mediunn.
watercolor demands a directness of handling that comes

watercolors

sparkling

fresh,

seek by going
formation.

often

to nature for in-

complete

watercolors on location, directly

from nature, but enjoy working
I

the

page

with overall

refinements.

only from constant practice.

The watercolorist is faced

many complex decisions
that must be met with authority
in a limited amount of time,

with

I've found that my chances for

completing a well-organized
painting improve tremendously
have some time to get acif

Basic drawing,

composition,

textural

and space and

controls can all be re-

quired

simultaneously

color planning,

first

frantic half-hour of

new watercolor.
One type of painting

in

the

work on
I

enjoy

doing involves a real battle

against time; this happens

when

employ the wet-into-wet

on wet paper,
and the basis for the whole

technique.
painting

is

start

laid

while

in

the

paper is still damp. Although

can prolong the period of
dampness, my best defense is
top/an ahead. Planning to paint
I

a watercolor often takes longer

than the act of painting

In

this

chapter,

it.

want

to

my approach to exploring a new subject and the

strategy I've developed in my

share

the studio also. Either way,

in

quainted with the subject to

draw and sketch before jumping into the final watercolor

challenge.

The Sketchbook
and painting
use 8'/2" x 11" sketchbooks. In them gather information from nature. Here is where
answer the question, "What is
it?" They're not master drawFor small drawing

plans

ings, but

my

personal reactions

work in a variety
media: ink, pencil, felt pen,
marker, brush, etc., making a
collection of notes and observations. These sketchbooks are
call my
a storehouse of what
vocabulary those subjects
know well enough to use as
source material for future paint-

to a subject.

of

PREPAINTING THOUGHTS

The Deserted Cabin.

Sketchbook double-page. 11'
X 17". I have sketched and
painted

my

this

old cabin near

studio for years, but

find that

new

still

excitement

develops from drawing the

area again and again. If I can

do several pages

of

informative studies, exploring

new views and

of emphasis,

paint the
with

new

same

altered areas

find that

can

old structure

involvement and

interesting results.

-Y y

<T

//

'^/

Sketchbooks (Left)- 8 x it. now

have a shelf full of these hardbound
sketchbooks that go back more than
periodically return to them
75 years.
I

for "old subjects'

to

use again

in

new

ways
Hendricks Head Light (Below).
Sketchbook double-page. 11' x 17".
Many of my on location drawings
"

are truly sketchy

notes

'

to aid in

and unfinished
working

watercolors. This study

finished statement in

later

became

itself.

The pen

sketch was done on the spot. I later

added the colored washes from

memory

^^tw^

14

WATERCOLOR WORKSHOP

IWIM7 utttr \twtir

in

the comfort of

my

studio.

ings^

feel that the practice of

sketching and drawing

fundamental need

the

is

for the artist.

The portability of the sketchbook is a great advantage.

usually have mine with me,
ready for impromptu notes and
drawings. However, its relaI

tively

small size creates limita-

tions.

Ideas recorded on these

pages must be "blown up" to

grander dimensions when
translated into paintings, and
this can be a difficult step.
I

therefore find

sketch

full,

useful to also

painting-sized

which painting and

in

become one and

drawing

same

in

manner

it

the

thing.

The Large Brush Drawing

I

do casual painting-

to

like

sized brush drawings on inexpensive white student drawing

paper, 18" x 24". work directly
i

and brush, and shy

away from a pencil drawing

with paint

plan that might lead to a stilted

"filling in between the lines" attitude.

try to think of

shapes,

not outlines, while attempting to

capture the character of the
subject.

Complete rendering

of

the details doesn't interest

me. The drawings are done in a

all

brisk style, a watercolor short-

hand. Some of these are drybrush drawings done with little

water; others are done in a
lush, wet technique. The large
paper is important for developing and maintaining mastery of
the brush; the aim is to develop
bold assurance with the subject

before

attempting finished
The uninhibited at-

paintings.

titude that

comes from working

directly with expressive water-

brushes on inexpensive

color

paper leads to a controlled

sense of freedom and vitality
that

enjoy striving

for

in

my

work.

PREPAINTING THOUGHTS

15

Trees on the Ridge. Drawing paper.

18 X 24 In tliis study I used the trees
.

on a distant ridge as

my

Detail within the trees

subject.

was

therefore

less important than the overall

changes

of the

shape and character

of

the different tree silhouettes. After the

large shapes were laid

in. I painted
masses, adding a little
development in volume and local color

into the

identity.

^I^S .'JL^^ncL^X^^

This

is

though

the time for a

still

gathering

of

information.

Al-

can appreciate the

benefits of doing a careful "indepth" study, I've found that

my time seems better spent
doing three or four half-hour
searchings than doing a single
hour and a half rendering.

My advice
colorist

is

to

to

first

the waterobserve and

record your translations of nature in sketchbooks. Second.

practice the subject in a variety
of direct approaches with a
brush on large-sized inexpensive paper.

The Abstract

in

Nature

takes years of painting and

to gain a
command of the watercolor
It

drawing experience

medium and also to gain the

most basic understanding of
structure, form, proportion,

perspective.

self-discipline
will

and

believe that both

and

develop the

instruction

control

artist's

over his tools and techniques.

seems odd

that

"taught to see," but

more the

that the

the

it's

artist

complications

matter,

It

we must be

of

a fact

looks at

subject

and design
that nature presents, the more
he really begins to observe and
comprehend. At one point in
structure,

Ferry Boat, Sausalito. D Arches

paper. 22 x 30 This is an example of
a "direct drawing' attitude I
:

sometimes enjoy

using. Starting with a

minimum brush drawing. I painted

shape abstractions" of the many
parts and pieces of this retired
ferryboat

the

saved a bold amount of

and only near the end
turned the blazing sunlight on the
subject by painting out some
good-sized portions of the page with
I

white paper

light-

18

and middle-value washes.

WATERCOLOR WORKSHOP

'"XV-.-r^

i-Uc^r^w-^^

PREPAINTING THOUGHTS

19

California Coast. D Arches paper. 22

X 30'. I had painted several
"17

day on the
Mile Drive" near Carmel using
watercolors earlier

this

conventional techniques, but

had missed

fell

the povi/erful strength of

my

studies

early

that are

became aware

searched out the striking

boldness of these tortured giants.

hadn't reached a

worked directly with a variety of strong

darks using both flowing wash
accents and drybrush strokes. The
supporting light- and middle-value

washes were again put in last.

was searching the trees,
rocks, and sea for their distinctive
character, an abstract framework
Although

formed the overall design

to

add just enough

detail to

attempted

and bold
capture the essence of the
texture

subject

all,

but

final

that

goal after

had only gathered some

of the essential tools for the re-

lease of
tive

more personally crea-

ways

search

working. The
how to say someof

for

thing

suddenly changed

"What
quest

am going
became
I

to

say?" The

to

nature,

eye.

and

nature

is

in-

simplify

because

I'm

into natural

watercolor ways of

working. The subject, although

disguised,

not

becomes

less

important than the overall plan

The

of the presentation.

detarls

as little abstractions in themselves. Identifying

the subject has become much
important than

capturing

things

found
presented
more effectively through the

search out the

descriptive abstraction of pat-

constantly re-

subject, not just for

to paint, but to

to

try

a watercolorist, I've
developed ways of seeing and
drawing that have a definite
possibility of being translated

less

Fortunately,

primarily

white.

textures

always awaiting the

are exciting

far

turn to working directly from the

new

abstractions and the unlimited

WATERCOLOR WORKSHOP

quisitive

and

colors,

more
individual
the answers no
longer clear-cut, black and
great teacher.

20

expressive shapes,

of

simply draw things as they

were. Then, after these necessary basic skills were under
control,

variety

patterns,

these windblown Monterey pines. This

third painting

remember

the valid goal of attempting to

its

character.

In fact I've

that the character

terns readily found

is

in

nature.

The Thumbnail Sketch

After studying nature, the artist

must plan the best way

play the subject. This

to dis-

another

is

time to use the sketchbook

do many thumbnail compositions in

my search

for

a unique

display of space, a satisfying

distribution of light and dark,

and balance both

complexity.

of

mass and

often try to shift

the focus of attention

new

each

in

One

sketch might be
a sky painting plan. Another, a
foreground plan or a closeup.
plan.

One main

thought per sketch is

enough.
These painting plans can be
done with pencil, pen. or brush
might search out
and wash.
the trial compositions in a linear
I

manner

that

interesting

explores various

arrangements

of the

subject within the picture

framework. Other thumbnail
studies might be more concerned with value planning

and

(dark

light

distnbution

done by

balance),

setting

and

down

simple flat tones that preview

the
the
organization
of
painting's major masses. Doing
just one thumbnail plan is prac-

a waste of time. You

might as well work directly on

tically

the large painting with this

idea.
nail

The

benefit of the

sketch approach

first

thumb-

becomes

evident when, after a series of

and error variations, one

experiment stands forth as
being a far more dramatic display than the other. Trial and

trial

error

explorations of this

sort

can lead to a painting plan that

inis unique and interesting
stead of

just

another "so what"

Moonlight on the Cliff. Sketchbook

thumbnails. These small composition
plans are examples of the
explorations' that precede the actual
painting process Because I was
already familiar with the sub/ect. these
small sketches make no attempt to be
finished studies in themselves Instead

they

become personal

notations for

possible whole paintings. fiAood.

space and mass distributions,

and the preselection of saved lights"
and accent areas are my main
scale,

concerns.

composition.

PREPAINTING THOUGHTS

21

Color Studies

The color scheme In a painting

can also be preplanned by trying several variations ahead of
Having settled on a poscomposition,
use Inexpensive paper to make larger

time.

sible

studies, four or

more

make an

try

loratory

search
color

effective

to

a sheet.

inventive, expto

discover an

plan.

Different

color combinations suggest

ferent

moods

from low

dif-

to high

key and from solemn to cheerSince these quick color

ful.

In no way precious,
have a wonderful sense of
freedom as explore new uses
of color. If one striking color

studies are
I

emerges from several

plan

these
the

trials,

effort.

feel

It's

Breaking through the

limitations of old habits

tering Into

new

new areas

and enof crea-

Involvement can

tive

life

of

well worth

punch

Into paintings.

Technical Decisions
Watercolor offers a range

of

distinctly different technical ef-

The wet-info-wet method

painting on damp paper

fects.

of

creates a
ness.

diffused

juicy,

Painting

soft-

on dry paper

creates crisp, firm shapes with

a hard-edged, In-focus quality.

Using drybrush strokes and calligraphy makes for further possible

surface

single formula

qualities.

No

satisfy

the

will

all

needs of the watercolorlst. One

must fit the technique to the
mood. try to vary my technical
approach and not simply paint
I

out of habit.

Examples throughout this

book will display the controlled
emphasis of one or the other of
these technical qualities
ferent paintings.

22

WATERCOLOR WORKSHOP

In

dif-

CL

Go/den Sunset. DArches paper.

wel-mto-wet underpainting
activates

and describes

to

13

x 20. This painting

create a

various areas

in

began

with a

Brush calligraphy
a bold, scaled manner.

soft,

moody

effect.

PREPAINTING THOUGHTS 23

Before the Storm. D'Arches paper. 22" x 30". My aim in this painting was to
stage the scene in a dramatic way. I have pushed the lights. By surrounding
them with middle-darl< to dark values, attention is focused on the spotlight
effect.

24

WATERCOLOR WORKSHOP

Mental Plan

I've made recommendations

concerning how to prepare
yourself for the problems that

when you

face

paint a
always possible, or even necessary, to go
through the process of sketching, brush drawing, or thumbnails before doing a painting.
As mentioned earlier,"You can
only paint what you know. and
anything you can do to gam
command of your subject and
you'll

watercolor.

isn't

It

"

your tools

be highly benefi-

will

you.

cial to

There are times when I'm so

enthused about a new subject
that

just

can't wait to get

and

paint.

there

Many

in

my

of

im%

"on location
paintings are
done on a moment's inspiration. However,
try not to start a
"

Monterey Signs. D'Arches paper. 22' x 30 By using a controlled wash on dry

I produced hard-edged, crisp shapes to emphasize the structure of this
:

paper.

cluttered sub/ect.

new painting blindly. mentally

go through the process of
I

selecting a powerful color plan,

deciding on the technique

want to stress, building a composition, and visually examining
the subject so
can accurately
I

capture

its

character. This

men-

plan of attack can help organize the approach I'll take

tal

and
aid

set

some simple

the

in

fresh,

direct

ment

strive

falls

I'm not

find

that

final

often indecisive or

is

apart

say too

to

of the

watercolor statefor. Without this

pre-planning
painting

goals

development

because
in one

tries

it

much

saying that

organization

ahead

this

of

to

picture.

mental

time

will

guarantee excellent results, but

should help. Actually, it takes

Whari Space. D Arches paper. 22' x 30". In this scene my goal was to make a
statement about space I was not interested in great depth, but used an aerial
view and many overlapping objects to pulsate the page with spatial sensations.

it

more effort to create a bold

simple painting than it does to
endlessly "tickle the page to
death."

far

One
plan

"

last word about "the

Whether you spend quite

a lot of time preparing or just

mentally settle upon the ap-

PR EPAINTING THOUGHTS 25

proach

you'll take, this

plan

is

only an aid to get you going in

a logical direction. Once the

painting

process has begun

don't

the

let

creativity.

block your

plan

has done the job

It

(a

pre-painting job) ot setting the

you want to meet

While you're actively
involved in the painting process

limited goals
this time.

your

your senses,

trust

in-

your past training, and

stincts,

cooperate with the images on

page and the

the

technical re-

it."

as they emerge. "Go with

Allow yourself to be involved

in

the creative struggle.

sults

when
is

again

Then
nearly

is

and the major characyou can

finished
ter

painting

the

established,

become more

tiveness

coldly

and judge the

analytical

your

of

often than not this

efforts.
is

effec-

More

the time

I'll

say to myself, "Well, at least

learned something from this
one," and then jump right in
I

and

paint

again.

it

Valid Reasons to Paint

With a creative approach
painting, the artist

one
and

may

on which

quality

build

his

to

select

to

focus

painting.

Each

painting should have a special

character

beyond merely

re-

porting on the facts of nature.

Exploring

some unusual com-

bination of colors might

be

in-

a new
version of a subject you're
familiar with. Completely different final results might grow out
approaches that stress
of
space or texture or dramatic
scale. Adjusting your technique to concentrate on the soft
wet-into-wet mood, or con-

spiration

enough

versely,

forcing the posterlike,

to start

hard-edged firmness of the

controlled wash can lead to
dramatically

different

creative

statements.

26

WATERCOLOR WORKSHOP

Flame

at the Top.

D'Arches paper. 22 x 30

decorative patterns and

was

initiated to

This painling stresses crisp

explore the

brilliant

color of the scene.

PREPAINTING THOUGHTS 27

Painting Value Plans

Many

painters

progress quite

easily to the point where they

can paint the objects within a

The growproblem beconnes not,

paint the parts?"
"How can
can present
"How
rather,
but

painting sufficiently.

ing

an exciting arrangennent of the

painting as a complete and
dramatic unit?" Without expending a great deal of time,
I've found it beneficial to do a

whole series of smallish value

studies that explore these
overall arrangements. Since the
organization of a
color painting

Inspiration Point. Drawing paper,

for

28

the interest within the painting

and not letting it be diverted off
the page.

In

Wx

each new plan

paint a pleasing

to

think of gesture as

try

gesture.

and rhythms set up in the

design by the major shapes

and

their distribution within the

picture framework.

Painting

many

these value

of

plans leads to a wide choice of

can select
effects from which
I

a favorite plan or two to

try in

finished painting.

24'.

have

^^Pi.e ^opid'-

faith that

can paint a

rocti.

or a tree: consequently, these three- value thumbnails stress the search

a dramatic arrangement of the pictures parts.

WATERCOLOR WORKSHOP

the direc-

tions

'^s&f' rr

I^.IS^S.

sl<y.

Balance, scale, and a sense of

containment are the goals. By
mean keeping
containment,

good water-

demands a de-

try to
gree of simplification,
execute these small studies in
a range of only three to five
well-staged values. In each

plan there are strong, bold

value contrasts, not merely outlines. Shapes are kept simple.

SpT

Baux. Drawing paper. 18" x 24". This page of AVi" x 7" value plans was done as a warm up" immediately before
doing a full-sheet demonstration for one of my classes The finished painting that followed was an entirely new creation
developed right on the watercolor page, obviously benefiting from the mental preparation achieved while doing the small
studies The subject is medieval mountain-top ruins and a small village in Southern France
i-^s

PHEPAINTING THOUGHTS 29

Snow, and Sky Impressions.

paper. 16 x 20
wanted

Tree.

D Arches
make

a bold spatial statement

to

in this

painting, not /usf to paint another

landscape with

trees.

It

is

an

abbreviated impression -as abstract

as I ever like to work I find I can paint

an authoritative minimum statement

only

when

know

the subject

thoroughly: then I'm free to

concentrate on other aspects of

creative painting.

PREPAINTING THOUGHTS

31

Boats and Nets, Honfleurs. D Arches paper, 13V2" x

32

WATERCOLOR WORKSHOP

20".

Materials

2.

The choice of working equipment for every artist depends

on individual preferences and
has a lot to do with an artist's
methods. Some artists prefer
work large others work

Some

small format only.

^:f

to
in

artists

a limited range of earthy

hues satisfying, while others
work inventively only with the
whole spectrum. Painting on

find

'

requires different
equipment from painting in the

location
studio.

full

listing of

materials avail-

able to the contemporary

artist

would
a large catalog. have
prepared a basic list of those
materials find essential for use
fill

directions change, so

do

There is
absolutely no need for you to
purchase identical equipment,

the supplies

but these

use paint
I

liberally.

continually experiment with

new and sometimes

exotic col-

basic palette includes only a warm and cool of

each of the primary colors (red,
yellow, and blue) plus a few

ors,

but a

and

earth colors,

the palette
beginners:

black.

Here

recommend

is

for

Lemon Yellow

Cadmium

Yellow

Medium

both in the studio and out of

doors. As my need, moods,

and

wearing out a $13.00 brush to

pick up a penny's worth of
dried-out color. Be prepared to

require.

pages may

you with some

Vermilion
Alizarin

Crimson

Phthalocyanine Blue
Ultramarine Blue

Yellow Ochre
Burnt Sienna

familiarize

of your choices.

Black

My

current

full

palette consists

of the following colors:

Paints

use tube watercolors and prethe large Number 5 tubes.

Only two companies can supWinsor & Newton.
ply this size
Ltd., and Renaissance Pigment
use these
Company. So,

Winsor Yellow

brands exclusively.

Winsor Red

fer

New Gamboge
Orange
Bnght Red

A healthy watercolor requires

generous amounts of moist
color. There is no economy in

Alizarin

Crimson

Cobalt Violet

MATERIALS

33

Cobalt Blue

for

scrubbing out

brush,

Winsor Blue

if

it

lights.

works,

is

Any

ond

Palettes

wet techniques. The big disadvantage of the heavy papers is.

Raw Sienna
Burnt Sienna

Umber
Colors. I'm not a purist

about transparency
color pigments.
teresting

If

water-

in

can get

with

effects

white or other

opaque

in-

opaque
colors,

one side and

across the end. The wells are
slightly recessed and tilted to
keep color from flowing into the

parent.

and

studio

it

"old standbys":

use

French box easel that use

away from home.
Pick a palette that fits your
needs. Select one that is white,
non-staining, and has good-

sized
1"

flat,

either sable or sabeline.

Number 12

round, preferably

sable.

mixing

areas;

the color

be wide enough to
easily accept your largest
brushes and allow for ample

wells should

pigment.

color

With the smoother papers

and a dner technique the artist
can achieve more brilliant
whites and colors, plus brushstroke and texture qualities that
would be diffused and lost on

rougher surfaces.
For a certain type of small
watercolor where
want to
develop intricate surfaces and
paint qualities
enjoy using a

Watercolor Papers
use the French handmade
paper "d'Arches" for most of
my work. There are many good
brands available with different
surfaces in different weights
(and a great range of price). Be
willing to experiment with difuntil you try
ferent papers
several you won't have any
basis for knowing what to
choose to suit your own needs.
I

brushes. But,

a range

in

addition,

have

usable paint-

of other

ing tools:

2"

and 3"

flat

brushes, great

starting paintings with

minimum number
Oriental

bamboo

Numbers 2 and
fall

of strokes.

brushes.

3,

provide a

flowing thick or thin

may

for

These

line.

apart quickly, but are

inexpensive.
I

34

Weight. Most watercolor papers

come

in

several weights.

WATERCOLOR WORKSHOP

The

heaviest papers have obvious

advantages they often don't
require stretching and can be
used on both sides. If the first
side is a failure, you get a sec-

Miscellaneous brushes. keep

an old toothbrush for spattering.
use a small bristle brush

smooth sheet. The twothree-ply bristol board (kid

plate finish)

Most of my paintings have

been completed with these few

is a great range
surfaces in water-

firm

Number

6 or 8 round, a smaller
pointed sable.

of available

tions.

for

the
enjoy

in

for painting

Texture. There

controlled wet-into-wet applica-

my

my

ing the painting process.

just fits into

both

for

location. Luckily,

are

in

center of the palette.

my

few good brushes are neceshave three brushes that

if

painting on

large divided mixing area

this large palette

sary.

papers.
use both a
rough and a smooth. Each
reacts differently. The rougher
papers are generally better for

Brushes

use the 300 pound weight

most of my full-sheet paintings (22" X 30").
often use the
lighter 140 pound stock for
smaller work. This thinner
paper needs to be stretched
want the sheet to stay flat durI

for

color wells along

use them. Most of my paintings,

however, are completely trans-

the wet-into-

in

of course, their cost.

Black

Opaque

a longer

control period

There are any number of commercial palettes on the market

that do a good job. Actually,
anything from an old white dinner plate to an enameled
butcher's tray will work.
use a
white plastic palette that is
about 14" X 18" and has large

Winsor Green

Burnt

for

tool for the job.

Ultramarine Blue

Manganese Blue

They also hold more

try.

moisture and allow

the right

face that
allow for

colors

is

whites.

or

a pleasing surtough enough to

is

lifting

to

or

off

regain

non-staining

nearly

pure

Smooth washes be-

come almost
(rol

on

this

impossible to conpaper, but the range

of creative textures is unlimited.

Mounting Boards
I've settled on two sizes of
plywood boards that suit my

needs. Both 20" x 26" (for halfsheet or smaller) and 23" x 31"
(for the full sheets) are commercially available

m %"

thick

basswood plywood. This board

is thin and light and has amazing

strength

against bending.

Its also soft enough to accept

thumbtacks, pushpins, and
staples. The normal plywoods

are

much

less expensive,

but

bend under the stress of

stretching paper and will break
thumbtacks and pushpins. The
thicker commercial drawing

will

boards {W to 1") work

have the disadvantage

well, but

of

being

and heavier, Masonite

stretchsheets can be used
bulkier

if

necessary. Gummed
tape won't stick well to Masonite and tacking is impossible.
If
you work unstretched with
the paper held to the board
with large bulldog clips
then
the Masonite board is handy.
ing

isn't

Paper Stretching
In

make

order to

papers stay

lightweight

during the
painting process, it's necessary
flat

them ahead of time.

This is done by soaking the
watercolor paper for a few mito stretch

nutes (so it will get wetter than

it
will eventually be during

and then placing the

wet sheet on a sturdy drawing
board and fastening it down all
along its edges. The paper will
painting),

becoming taut like a

drum head as
dries, and will
shrink,

it

remain flat while the painting is

being done. The paper can be
fastened to the board by either
stapling
along the edge (staple every 2" about V2" in from
the border) or by taping it down
with strong ^V^" or 2" wide
gummed tape. Masking tape
wont work. You need the
gummed tape that has to be
moistened and then pressed
it

down

tightly to

hold against the

power of the shrinking paper.

The tape should be positioned
all the way around the watercolor sheet (four precut pieces
of

tape) and should lap over

about

half

on the paper and

on the board

half

boards

of

freshly

Store the

the studio, a box with a very

stretched

low-profile

paper flat until the pages dry. If

you do more than one sheet at
a time, you can stretch on both
sides of your boards and then
stack them between sheets of

newspapers

old

ready

until

you're

use them.
remove the

wedge will work well

on any normal table. For working out of doors (either sitting or
standing)

its

possible to adjust

box heights so your board is at

a comfortable height and
angle.

to

To
paintings
when you've finished, cut. the
tape down the middle; or,
you

Miscellaneous Materials
Throughout the various chap-

if

have used the staple method,

cut the painting free just inside

the rows of staples

pull the

board

and then

remaining strips

to clear

it

off

for future

the

use.

ters of this

book

plan to

intro-

duce some unique painting

won't list them all here.
They range from blotters to
matboard scraps to paint rollers. The use of the out-of-thetools.

is described in
wherever
is
intro-

ordinary tools

Easels

the text

Once again, each artist usually

ends up with his own preference when
comes to some
method for holding a board durit

ing

painting.

In

my

studio.

it

duced. My basic philosophy is

that anything goes. If you feel
like trying something different,
by all means experiment. If it
fine! If not, you've still
enlarged your knowledge of the

works,
I

have a large drawing table that

can be tilted to any desired

painting craft.

angle while
work. A sloping
surface can be achieved without a special table by propping
up your board with a wooden
I

box

block,

other

handy

of

tissues,

object.

any

or

Many

pain-

work outside on the ground

an easel. They lean
their work board on their painting pack or kit to achieve the
desired angle and either sit on
the ground or use a small stool.
prefer to stand while
work
and have found my French box
ters

without

and
be completely
satisfactory Most of the lightweight, aluminum, photography
type easels I've found to be too
easel (with adjustable legs

tilting

rack)

to

board as
steady as necessary
The cheapest easel, and one
of the handiest, is a cardboard
carton that has had its top cut
to a desired angle to support a
drawing board Supplies can
be carried in the box as well. In

flimsy to hold a big

Summer Textures (Overleaf)

D Arches paper. 13^2" x 20 Here
used

calligraphy, spatiers.

variety of

stampings

and a

to stress texture.

MATERIALS 35

38

WATERCOLOR WORKSHOP

The Glaze and

3.

Silhouette

Morning Moon. D'Arches

!3'2X 20'. Here the
glaze was used to establish a
color mood and to slightly

In all of

my

painting

and draw-

paper.

ing experience, from

develop

taught to see things by drawing

lines around them. In truth no

some

identity in the

background The moon was

was

while the glaze

wet.

and

the

clouds were struck in

immediately afterwards. The
reflections in the water were
soft

made

with

squeegee strokes

handle of my
brush. After the underglaze was

using the

flat

laid in

dry.

that

needed

a linked silhouette

development

very
to

little

make

earliest

interior

a finished

art

training.

time of
I

was

found in nature. Objects exist side by side or one

such

out with a clean brush

lifted

my

ttie

line is

in front of

another, not

because

a
but

thin wire of

an edge,

of

little,

because they are mass

mass, value against

value, color against color Our
eye reads these contrasts and
we interpret them as solid obcall the
jects. By staging what
character silhouette over a
glowing glaze of color, we can
reduce the complexities of nature to an effective watercolor
against

statement.

statement

It's

a graphic

way

to

interpret the structure of nature

in

a watercolor by capturing its

in
bold, simple

character

chapter our

first

con-

be the initial layers of

washes on the page the
glaze. The idea is to lay several
cern

will

color

layers of glowing color on the

page and let it dry. establishing

a glaze as an underpainting
Then you paint the subject over
the glaze in darker colors, forming a silhouette of linked

shapes.
Beginning
exercises

another, using facts explained

previous chapters in later

ones. In this chapter, which
lays the foundation for the
book, there will be two techniin

exercises and a painting

problem.
cal

Indirect Glaze

There are two basic ways

traditional

chapter

is

English

the indirect glaze,

and more

patient

is

to

The

paint a watercolor glaze

technique,
the slower

method.

In

the indirect method, you start

by painting a light layer of color

page Let dry

and then superimanother layer The

over the entire

thoroughly,
still

it

eventual color of the glaze is

produced from the combined

number of layers. Each layer

has Its separate color and
value. If previous washes are
thoroughly dry the colors can
be laid down layer upon layer
without disturbing the paint un-

derneath. The
of

final effect is

one

a glowing, fresh page. The

pigments
in this

suggested technical
and painting problems for you to try. It's not really
necessary to work each exer-

variety of

in

commend

pose

shapes.
In this

do resequence, but
that you read them
through. There is a definite
building of one lesson on

cise

have

ground together

into

not

been

common

gray. If we examine
them under a magnifying glass,

muddy

the colors are sitting there side

by side, almost impressionistic

THE GLAZE AND SILHOUETTE

39

in

character.

es

in

glow

The eye mix-

glow of the glaze when applied

glaze

and there

over contrasting colors.

such colors as phthalocyanine

blue and green or alizarin crim-

the color
in

the finished

that ainnost

Granular

seems

is

painting

to emit light.

Staining Colors

son.

Whereas the more opaque

Wash

possible to emphasize the

color variation in a glaze by
Its

col-

on the surface of
the paper and create a granuors tend to

lated

sit

effect,

there

are other

overpainting with a layer or two

pigments

a granular wash. Some pigments are more opaque than

parent and are practically liquid

of

raw
sienna, cobalt blue, and manganese blue are examples of
opaque colors. When painted
directly on white paper they
others.

Yellow

ochre,

glow with the rich brilliance of

most other colors, but when
flowed on top of darker colors
they settle into the hollows of

the

and

paper's textured

surface

create
an
obvious
sedimented wash. This granular effect can help enhance the

that are highly trans-

Staining colors will

penetrate the paper and any
stains.

color under them.

used

in

They can be

building a glaze,

but

you should be aware that they'll

have the effect of dyeing all the
colors they cover,

and hence

later.

hard to remove

Its

These colors are highly

transparent and are next to impossible to

wash

out after they

do have advantages. They're ideally suited

for overpainting other colors
have

set,

but they

without losing luminosity.

again, there
that

must

building

no

Once

formula
be followed when
is

strict

a glaze, but

it

does

know the different effects the more staining colors

have when laid over and under
pay

to

one another.

can destroy the effectiveness of

a granular wash. If you want the

Direct Glaze

more opaque

colors to retain

The method we

will

their identity

then just flow them

Strong staining colors

paint our glazes

is

on last.
should also be avoided if you
expect to lift out whites from the

one. the direct glaze, that

be using

to

a timesaving
al-

lows us to paint an effective

glaze in one painting period.

Dory

Fleet.

Drawing paper. 18" x

Think shapes, not outlines,

practice

linl<ing

24".

and

individual parts of the

subjects into bold, dramatic

silhouettes.
its

cast

Here the boat blends

shadow and then

into

unites with

another boat or figure or building.

creates a structural symbol that

is

more

all

interesting than displaying

parts separately.

It

the

We wont

wait for the

color

first

one

color

down and immediately

paint

but

dry,

to

another

layer

third layer

lay

will

over

on top, with a
By keeping

that.

the page totally moist, brushing

the whole surface with each

new

application of a

It

not mix

will

the

of

tip

and ample

damp

the

too. will

color

used

is

a large
is

alive.

mud

itself into

fresh touch

light,

we

color,

keep the paint active and

if

(just

brush)

soft

carried onto

page. This method,

superimpose layer over

letting the color sparkle

individual microscopic
spots of pigment.

layer,

with

Warm
If

euid

want a predominantly warm

glaze, then
or

Cool Contrasts

two

ors.

I'll

paint a

then

power these

layer

immediately overtints with

stronger color that

major

first

of light-valued cool col-

layers of

still

warm theme.

If

fit

my

want a

basically cool painting plan, the

reverse also applies.

delicate

warmth underneath the bolder

cool glaze provides relief and
contrast and also adds to the
final glow of the page. The real
key to creating an effective
glow, besides laying color over
color

disturbing

without

paint underneath,

is

the

the control-

led use of the combinations of

both contrasting

warm and

cool

colors.

One

other

point

should be

Complimentary colors neutralize one

another. If you construct a
mentioned here.

glaze of equally' bold values of

warm and cool washes, the
final result will be a fairly subdued page. If it's a smoggy day
quality you're after, this

your choice.

If

more colorful
one color dominate.
Spot Silhouettes. Drawing paper,

Ao

uuiTmrni nn wnPKcsHnp

18

"

x 24".

may be

your goal is a
effect, then let

In planning
a bluish sky, adding a hint of

Beached Boat
paper, 9"x

(Above). D' Arches

12".

New England Light (Left). D' Arches

paper. 13\2 x 20". This finished
painting

is

good example of
can be

the

unified silhouette that

constructed by using a backlighting

The bold wash that established

plan.

the overall silhouette

was

originally

one color and one value The

development of the divisions within the
silhouette can therefore be amazingly
fresh

and casual

THE GLAZE AND SILHOUETTE

43

warmth (delicate values) under

the basically cool sky (stronger

middle values)

will

provide a

most luminous glaze. Conversely,

use

just

a bare

tint

of

gently imposing its character

through all the bolder transparent darks that develop the subject in the later stages of overpainting.

cool under a bolder combination of

warm

layers for a glow-

sunny mood. Sunlight

composed of a full spectrum
ing,

warm and

cool colors.

planned with

ing

termixings

of

is

There are no

strict

formulas

for

of

paint-

intelligent in-

warm and

Building the Glaze

cool

colors for most of the surface

the selection of colors that

will

create effective glazes. Different combinations of colors develop different color moods. It's
as simple as that.
do believe
1

have a natural look without

the harshness of too much raw
color. Nothing disturbs me
quite as much as the "amateur
will

blue sky;" the sky that is totally

cool and artificial because of its

in

experimenting

new

with

combinations of colors in order

to break free from the limitations

of

established

patterns.

However,
have some definite
guideposts in mind whenever
start a new glaze for an underpainting. First,
want to make
sure that the glaze remains
I

single-color richness.
erally

wise

to

It's

save pure,

genrich

colors for the smaller final ac-

your painting and for

objects that they
can characterize correctly.

cents

in

man-made

Glazing has the advantage of

color unity to the

final

In nature, we see a unity

caused by reflections of color
from one area to another. For

work.

example, the warm ochre of

desert sand is reflected in the
sky above

The burnt sienna

of red hills might be echoed in
adjacent sand. The warmth of
the city bounces up into the
smogginess of the air near the
earth. When used as an underit.

painting, the glaze unifies the

total

44

color of a finished work by

WATERCOLOR WORKSHOP

sparkling.

plan to

work quickly and use the biggest brush that will do the job
comfortably.
don't want to
overwork the painting, especially at this early stage
the
I

Color Unity

giving

and

fresh

fewer strokes the better. Ill also

consider value control and conof warm and cool. To
keep the paint luminous, try to
do little neutralization or mixing

trasts

on my palette, but instead carry pure color to the

of colors

page
layer.

for
If

each

the color

the palette
again on the
ing
final

it

successive
is

dulled on

and then muted

page (by combin-

with previous colors), the

product can turn to mud.

Cabin on the Shore. D Arches paper. iSVi" x 20 This is an example of a glaze

and silhouette two -phase painting Disruptive openings (sky holes) are kept to a
minimum The edge ol the silhouette tells the story and allows the interior
divisions to

work well

in

a lost -and -found manner.

THE GLAZE AND SILHOUETTE 45

t
Wyoming Farm. Drawing

paper. 18 x 24 Big-brush
pattern that distributes an
interesting design throughout the page
On lop of this
simple foundation. I used some bold calligraphy

shapes establish a

linl<ecl

to

symbolically describe the variety of surfaces

and textures
Notice the concern for scale in both the
original

silhouettes

and

the detail development.

f,

^
Qjyj[^\lhJ^^

Exercise:

The Glaze
you'll need a
good watercolor

For this exercise

half-sheet of

paper.

should be stretched.

It

You will also need a 1" or

Number 12 brush and the following

colors:

cobalt blue, and

cerulean blue.
exercise

will

burnt sienna,

light

yellow,

manganese

or

A second glaze

use yellow ochre,

and black. If you

have these exact colors

Use approximate substitutes. Mark off two
separate 9" x 12" painting
areas on the paper and set
your board up at a slight angle
(15 slant, or about 3" to 5" of
lift at the top end). Get comfortable. Have generous amounts
don't
isn't

of

it

too important.

step

your selected colors avail-

Each

layer of

color

will

naturally

get

be

weakened, and

wash

will get lighter as it's

along the page. This
gradation, however, is what you
want to achieve. Don't worry

the

carried

about making the washes stay

precisely within the picture
area. Make
easy on yourself
and stroke the paint freely
through the side guidelines and
it

continue it right off the end of

the paper. It's always possible
to

mat a painting back

4fl

WATERCOLOR WORKSHOP

to the

With a well-mixed puddle of yellow paint.

proceed

to lay

a graded wash from the

bottom of the page. Use long, smooth horizontal strokes,

working progressively up the full page You may have to
replenish color in the brush for the first few strokes, but
then there should be ample color to blend to a lighter value
at the top. You can immediately reinforce this first layer with
stronger color if necessary. This first wash should blend
smoothly from a middle-light value at the base to a light tint
at the top of the page Clean your palette and brush, and
move directly to Step 2.

able on your palette.

applied as a graded wash,

darker at first and then lightening as it progresses up or down
the page.
When you're ready to begin
the exercise, dampen your
worksheet with a brush or
sponge and mix a good-sized
puddle of your first color in a
medium-light value. It will be
important to work quickly and
efficiently. Paint smooth, horizontal strokes across the page,
letting each succeeding stroke
slightly overlap the preceding
one so the wash will be smooth.
The color in the brush will

1.

middle-light value,

dimensions

original

and

thereby clean things up again.

Read

the instructions for the

exercise before you begin the

first wash of the glaze. It's important to know where you're

headed before you start. The

freshness and vitality of a good
watercolor is achieved through
a directness of handling that

comes from knowing what you

want

to

ceeding

accomplish, then profreely with a sure

touch.

When you have

finished the

another using
calm, earthy colors. First lay on
a graded wash of yellow ochre,
then one of burnt sienna, and
first

add

glaze,

try

contrast with black.

step 2. Work quickly so the original wash does not dry

Prepare a middle value of pure cobalt blue. This time, from
the top down, paint another graded wash directly over the
first This wash should blend from a middle value to a light
as it reaches the bottom of the page. Work with a light
touch of the brush.

Step

3.

The

be manganese blue, starting at

page to a light
bottom. To finish, wash and squeeze out liquid
third

wash

will

middle value, blending from the top of the

value at the

mop up any excess color outside the

Leave your board at an angle and let
You have laid a basic glaze.

from your brush, then

picture framework.

the

page

dry.

Step 4. After the glaze has dried it may appear to have lost some of its brilliance It will be turned on again by adding a
dark contrasting area at the base of the page Using some of the same colors that were used to build the glaze (in this
case primarily cobalt blue) paint a rich, dark transparent band about 2 wide across the base of the glazed sheet. If you
want to give it a bit of form -such as a simple silhouette of trees, a boat, or shoreline -fine, but your objective is simply to
add a dark foreground that will display the glow of the glaze.

THE GLAZE AND SILHOUETTE 49

Exercise:

The

Silhouette

The previous exercise has

al-

lowed you to practice the development of a glowing glaze

that can be used as an underpainting for a subject of your
choice. You've already discovered that the glaze has qualfreshness, sparkle, and

ities of

luminosity. You've also learned

glow does not

that the desired

really

come

to

there

life until

is

a bold, dark mass developed to

show off. The problem now is
some simple
to construct
it

silhouettes of different subjects

have interesting design

and character and can therefore be used successfully in
that

combination with the glaze

final

for

painting.

Initially,

the

way

easiest

to

simplify your subject for this

exercise is to imagine it as
being backlighted. This way the

various parts of the subject

matter will become linked into a

Mark out
phase of

7"x 10 painting areas, and use one of these spaces for

Use any transparent dark color The
first concern will be distributing some scaled shapes about the page Treat the
subject as a close-up composition so it can display a vanety of shapes Try to
distribute and balance the major masses in the composition Work without pencil
guidelines so you can freely adjust these first estimations of subject placement.
Step
the

1.

first

four

"

this simplified silhouette.

unified

silhouette
pattern.
the subject for the
silhouette from those you know.

Choose

Some

form

linking of

is

neces-

sary to create a unified design,

regardless of the subject matter.

Use shapes that have some

and distribute the

size variation,

patterned interest throughout

the page.
recommend a
close-up view of your subject
rather than a distant one that
would provide only tiny details
I

and a
space.

lot

of

The

leftover

interior

silhouette should

not

negative
of

be

the
clut-

tered by detail or cut by too

many sky holes. To create the

character of the silhouette, differentiations should

be made

in

shape with careful attention toward establishing a descnptive

edge

or contour.

ing these

first

When

character silhou-

ettes, try not to

depend on

line or detail within

50

practic-

out-

the subject.

WATERCOLOR WORKSHOP

Concentrate on the information

can be expressed by the
profile; paint shapes, not outlines. Later, when you get into

that

the real painting process, a

tle

local

color vanation

lit-

and a

minor amount of detail or calligraphy will aid in finally describing and separating objects

sor blue and

Merely copying
silhouettes

To

will

truly benefit

burnt

sienna.

my ready-made
teach you little.
from this exer-

you must make translaof your own. Use your

sketches or previous paintings
as a source. Practice painting
cise

tions

subject matter that you're famil-

a subject you know

enough to add authentic
details and interest to the

massive silhouette
For this exercise you'll need
some inexpensive drawing

well

paper, approximately 18" x 24".

character of the silhouette.

Work

such inexpensive, large paper

you should feel free to experi-

within the

or

with a large brush (1"

flat

Number 12 round) and

bold, transparent dark color,

be using a combination

of

a
ill

Win-

iar

with,

ment.

It's

well

On

worth the time

invested.

step

Now proceed

2.

to

develop the

profile of ttie various parts of the

subject. Stay
details,

and

away from finishing

not to depend on

try

line

Be especially careful of using too

many lights that may have a tendency
to

sneak out from between

Keep the shapes bold,

brushstrokes

and

simple,

informative.

If

silhouette isn't interesting

the basic

and

effective

at this stage, all the detail in the

world

won't help

"?

Step

3.

It

minimum

is

now

time to

of bold detail

add a
Take time

to

work some additional character into

the edge of the silhouette. You can
also develop a few divisions within the

mass

of the silhouette with further

darks and slight color changes. These

mass can
be amazingly casual: let them be fresh
and unworhed. a bit hit and miss.
variations within the larger

THE GLAZE AND SILHOUETTE

51

Painting Problem:

The Glaze and Silhouette

You've practiced the glaze and
can put down a fresh, glowing
page of layered color that
creates a desired nnood. You've
also experimented with large
brush silhouettes. Now you're
ready to do a two-phase painting with both ingredients, the
glaze and the silhouette.

The only difference between

painting problem and the
exercises is that you'll use a
good watercolor paper and
this

bold

paint the

silhouette

di-

on the dried glaze.

Use a stretched half-sheet

rectly

paper. Paint the glaze

in

step
of

your

own choice of colors, contrasting combinations of warm

below cool, or cool below
warm. The step-by-step illustrawill again explain the
problem and will list the particular colors
used in this painting.

tions

1.

Dampen

your page with a sponge or brush and prepare to lay your

in the usual manner. Use your 1 " brush. The first
yellow ochre, middle-light value at the base and thinning toward the

direct glaze in

v/ash

is

graded washes

The second color is raw sienna, middle-light value at the top and thinning to
a bare tmt at the base Work the whole page with each successive layer to keep
the paint damp and active. Next use a manganese blue. This graded wash will
start as a middle value, and it will work from the top down and from the bottom
up Let the washes gradate quickly so that you keep a light glow horizontially
across the page slightly below center. The last wash is burnt umber. Start at the
top with a middle value and fade this color almost completely in the upper
two-thirds of the page. Let your finished glaze dry.
top.

note that some of the

graded washes are controlled a
little differently than in the glaze
exercise. Read all three steps
before beginning so you have
the new plan clearly in mind.
You'll

Step

2.

Now get ready

to start the

foundation patterns for your silhouettes Mix a

Make up your mind

as to the basic structure of your composition, and then work quickly to brush in
approximate shapes for the whole layout Flow the color generously into the
shapes so they will remain wet for as long as possible Keeping your board at
just the slight 75 angle will help slow the drying.
large puddle of burnt

umber

in

a strong middle-dark value.

\
52

WATERCOLOR WORKSHOP

step 3. Still working with your big brush, but now using a variety of colors (burnt
umber, burnt sienna, blues, and reds) strike some local color into the still damp
first stages of the silhouette to establish some different values for the various
sections of your subject This color can be mingled loosely into the damp
pre-painted shapes Balance the whole composition with darks and richer warm
and cool colors. When this stage is finished, allow the page to dry. One of your
pointed brushes can now finish the painting With clean rich color, and with
some colorful transparent darks, distribute brush pattern accents of symbolic
detail Don't start

and

wrapping

silhouette plan,

and

lines

this is

around

things.

the time to think

You are

still

practicing a

more and paint

shape

less.

Gray Wharf

(Overleaf).

paper. 22 x 30

D Arches

THE GLAZE AND SILHOUETTE

53

Sunshine

East. D' Arches paper. 22' x 30".

My

structural

was a variation on a rectangular

theme -a division of the page into an interestingly scaled
and balanced composition. After the underpainting was

plan for

this

painting

the audience select which side they

established,

let

wanted

"

and then

up,

developed the structure of the

subject. The bulk of information in the painting

is in

the

rectangular shapes that carry the blocky suggestion of

buildings.

add

56

sprinkling of diagonals

and

curvilinear

rhythms

contrasting accents to the basically static composition.

WATERCOLOR WORKSHOP

4.

Design Unity

chapter

In this

tion

of

forcing

grand change

have no intenyou into any

of painting style.

believe that excellent painting

can be done both

realistically

completely nonobjective
isn't the degree of
realism or abstraction that
makes a painting good or bad;

or in a

vein.

there

It

can be good or bad reany style. But much

sults within
of

the conservative painting

see suffers heavily from lack of

underlying design control.
Nothing seems to separate the
pro from the amateur more
sharply than this area of abstract organization.

round arabesqueing, flickering

strokes of water or waving
grass. Each area is convincing
In

character, yet the painting

divided

drastically
that

it

It's

bands

into

different

lacks any unity.

rare for nature to provide

a ready-made composition with

a

completely

sign.

satisfactory

A good

painting

ganizing the
is

overlooked.

total

composition

A good

painting

a group of wellpainted parts There are many

the
skillfully painted scenes
is

not

just

sky perhaps a beautifully diffused wet-into-wet rendering of

clouds, the second area a

ridge of triangular-shaped
trees, a third area filled with
blocklike shapes, such as a

house and barn, and the foreg-

de-

usually

nature's real arrangements.

Granted, nature offers a valu-

and unlimited supply of

information and new
ideas for paintings, but it's up

able

exciting

rate

Most students have a good

sense of design until they try to
portray specific subjects. Then
the basic problem of drawing
the subject becomes such an
overwhelming concern that or-

is

a reorganization of the subject

rather than a mirroring of

to the artist to take

Subject Matter

is

such
rhythms

of

trate

ingredients

them

into

these sepa-

and orchesharmonious

compositions
This chapter will present the
basic elements of design
needed for organizing your
paintings, and several exer-

and painting problems

planned to better acquaint you
with handling these abstract
cises

considerations. Accurately ren-

dering subject matter will not

be a primary concern, although
the best conservative painting
is

built

on the same abstract

phnciples

we

will

be

exploring.

Feel free to experiment with

these valid, nonobjective goals
for their

own

sake.

DESIGN UNITY

57

Design Elements
There are three basic elements
of design: static, dynamic, and
magnetic.

The

cises

deal

will

exer-

following
with

con-

the

cepts of the first two. The third

element, magnetic, refers to the

power
static.

firm, solid, architectural

feeling

is

expressed by

vertical

and

tfie

horizontal lines

meeting of
or shapes.

of rich color to

attention over

hues and
later

will

demand

subdued, grayed
be explored in

chapters.
at the

shown nearby. The

first

non-moving structures.

tempos

ent

of

Differ-

dynamic

ele-

ments are shown in the next

two sketches. A slow, curving
theme dominates the first; a
sharper rhythm characsecond. At this point

faster,

terizes the

Slow Dynamic. These curvilinear

shapes set up an undulating rhythm
that displays a

calm type of

movement.

be enough to identify and

be aware of different responses
to these various design elements. How to put them to use
will be the concern of the exercises and painting problems
let

Major Design Goals

believe that painting should

be at least partly intuitive, or

more accurately, should evolve
through the apparently uninhiFast Dynamic. A rapid tempo is
expressed by these diagonal forms
meeting at sharply pointed, acute
angles.

bited action that

is

the result of

a well-practiced method of
working. A painter might work a
lifetime

without verbalizing his

reasons for working in the way

he has developed, but for the
purpose of teaching it's necessary to set some logical goals
for a period of study. Therefore,
I'll
list
some considerations
concepts of design, not

that

can be useful
aids in this process of learning
to become a more competent
rules

feel

picture builder.
Unity.

58

WATERCOLOR WORKSHOP

predominant design

theme. The choice

of

a major

dynamic)
might be suggested by the subject matter, or it could be the

theme

(either static or

arbitrary decision of the artist.

Almost any subject could be

handsomely organized on a
dominantly static structure (rectangular

theme). The

in

same

a slow, curvilinear dominance. Neither is automatically

better than the other, and each

with

theme

controlling

will

different

feeling.

search

for

is

evoke a

The main

a device (design

can organize the

shapes within your painting and
prevent them from being a

unity)

that

chaotic gathering of unrelated

and pieces.

bits

it

that follow.

organization from a

single,

subject could also be painted

sketches
sketch
displays the character of the
firm, stable,
static elements

Take a look

overall

painting benefits

in its

Scale. By controlling the varia-

shapes, you
can create dramatic tensions in
your compositions. It isn't
enough to paint "things" well;
you should establish a scale of
large, middle-sized, and small
shapes that have a relationship
to each other. Unless the artist
consciously develops scale,
the pieces of a painting have a

tion in the size of

tendency

to

become

middle-sized and therefore

all

vis-

ually dull.

Balance. The most formal design IS a composition with

symmetrical balance one in
which each form on one side of

the
lar

page is balanced by a simishape on the other side. The

however, often creates

an asymmetrical balance to
produce more tension and var-

artist,

Much

like a father and

on a teeter-totter, a small
shape in the spaciousness of
one side of a composition can
balance a larger object nearer
the center of the page on the
iety.

child

other side.

Such contrasts

pro-

vide bolder statements of

scale. Consider also the balance of weight, space, warm
and cool colors, softness and
cnspness. and texture as well
as the size of shapes. Balance
IS

an

all-inclusive

concept.

believe an
artists duty is to make a painting so complete that when it's
framed and put on the wall

Containment.

it

seems
There

to say. "I'm

no more."

is

all

there

try to

is.

avoid

painting runs off the

page

intensity

without any

and

is

edges
change

The

all-rectangular study

can

become dull and uninteresting.

Add just a few rhythmical curvand the

patterns

ing

static

shapes will appear more firm

and stable. In the same way the
completely warm painting is not
nearly as hot as one that contains a minor amount of cool.
Unity and variety are contrasting terms. It's not too hard to

static

with a
dynamic, both cun/es

Dominance. Rectangles

little

relief of tt)e

and

diagonals.

see the advantages of each

when we consider them separately.

creating a snapshot quality as

though the piece of nature I'm
the

stract organization of paintings.

of
in

obviously just a

Certainly a painting
effective

if

it

more

is

has a unified de-

sign structure. Conversely, ar-

rangements of shapes are

there
more visually tempting
if

something greater. One

certain way to make a design
complete in itself is to turn it
into a vignette, a pattern that
dissipates entirely before it
reaches the borders of the
page The vignette provides
perfect containment, but it can
easily become an unimaginative and dangerous compositional crutch. Shapes can fill
the picture area and even run
part of

off

the

page

containment

without destroying
if

care

is

taken

to

subdue them as they reach the

edges. Bolder accents of dark
and light color and complexity
will force attention into the
painting and further the desired
sense of completeness.

the

you'll

the

various

contrast or variety

within them. This

can be done

by making a bolder statement

of scale or changing a shape,
inserting texture or

new

color.

The problem, therefore, seems

to be, "How do we keep the
overall organization unified and
still

strive

ele-

ments of design, working with

just one theme at a time. When
you actually construct a painting you'll find yourself confronted with the problem of integrating all the design elements at once. Again, there are
no strict rules to follow, but
offer some ideas about the abI'll

Curvilinear Dominance. The major

theme
given

rounded shapes is
and variety through the
some static and diagonal

of slow,
stability

addition of

shapes.

through

interest

for

the addition of variation?"

One

problem is to
have a single dominant theme

way

to solve the

with the relief of a minor

amount

of contrast

(see the nearby

lustrations).

The static composisupplemented by a

tion that is

spice

little

of

curvilinear

il-

or

diagonal elements of design is

one possible answer. A boldly
active, dynamic design benefits
of horizontal

and

vertical (static) stabilization.

exercises that follow

isolate

some

from a touch

Combining Elements
In

is

indecisive statement

is

An

Diagonal Dominance. This dramatic,

sharply active design is supplemented

by firm horizontal and vertical inserts

A few delicately curving shapes add
further variety without competing with
the major unifying theme.

the re-

proportions of static and

dynamic elements are about
sult

if

equal The glaze exercises in

the preceding chapter applied
a similar theory about color.
The cool painting with a slight
warmth or the
of
relief

reverse makes a more decisive statement than one that is

half

warm and

half cool.

DESIGN UNITY

59

Exercises: Static,
Curvilinear, and Diagonal

need

For these exercises you'll

some inexpensive white drawing paper. My illustrations are

on an 18" x 24" sheet that has

been marked off into eight

separate rectangles, each 4'/2"
X 7". Use any dark color for
these experiments in three
middle, and
values
light,
dark. You'll need your 1" flat
and Number 12 round brushes.
The three separate exercises

gonal)

and

curvilinear,

(static,

will

static Variations, Step

dia-

color

improve your design

ability

without injecting the confusion

On

of subject matter.

Establish
unity, but

run off the page. Let

of

first

of
all,

a unity enhanced by
from a good

resulting

variety

sense

has,

of scale.

A checkerboard

pieces can be
to you to control the dramatic change in size
of your shapes from large to
of equal-sized

very

dull.

It's

up

middle-sized to small. Balance

and containment will be the

additional concerns in these
trial and error experiments,
I

recommend working

rectly with the brush,

di-

painting

and adjusting your rectangles

as you go along. Drawing penciled outlines of your shapes
ahead of time is not only a
can lead to a
waste of time,
method of working that leaves
no room for spontaneity. You
it

should

really

get the feeling

anced.

determined before you

start.

If

focus on nonobjective
design relationships as confusing as a foreign language. Take
this chance to become acquainted with these additional
and vitally necessary design components of unity,
find this

scale,

WATERCOLOR WORKSHOP

expect the
be fully

you've been a painter who has

concentrated solely on describing subject matter, you might

you build the design. It's a

growing process pieces are
then counterbalinserted,

Don't

finished composition to

that you're juggling patterns as

60

With a light value of any strong

distribution.

rectangles.

an organization

that

1.

be using Payne's gray)

distribute

some

have a range of sizes and a balanced

The sense of scale will be stronger if some of
your shapes are large enough to touch the edge or actually

first

theme
and make an arrangement of

shapes

to

they. too.

the

sheet, work with a static

many overlapping

happen

overlapping rectangles on the page. Build some large

shapes, some middle-sized, and a few small ones Try to
be aware of the unpainted light spaces (negative areas) so

you explore and

let

(I

ment.

balance,

and contain-

this first

step dry.

step

2. In

a deeper middle value, repaint

some

of the

Step

3.

Now

complete the composition using a strong,

and

light-valued rectangles to further identify the individual

transparent dark value In the process of overpainting

shapes. /Notice a feeling of depth developing as the shapes

appear to hang in front of one another, or peek out from
behind Make these overlaps clear and obvious You can

adding new rectangles, you can make further balancing

adjustments and proceed to cluster the smallest shapes
into areas of finished complexity Build some of these last
strong darks directly against open whites and they will
become a climactic focal point Keep these accent darks

add new rectangles

at this

stage

to adjust the

increase the sensation of scale Let

starting the final stage.

this layer

balance and
dry before

away from

white at the

edge

of the

page

to retain the

feeling of containment

Step 4. Now it is time to fill the

remaining workspaces with similar
explorations of your own design. To
increase the feeling of scale, build a

few

S.V*-1l

really big

value In each

shapes

new

arrangements that

masses

differently.

in

the

first light

plan, invent
distribute the

Use your

instincts -the goals are unity, balance,

scale,
let

me

and containment. Once

again,

caution you to avoid thinking of

this point so you will

completely free to observe, adjust,

subject matter at
feel

and
this

control the major abstract goals of

design exercise.

DESIGN UNITY

61

y*i2
Curvilinear Variations. These illustrations are to prompt your second exercise.
The only change is in the shape you will use This time make forms with calmly

curved sides to introduce a slow-speed dynamic motion to the designs. If you

become bored with your color choice, by all means try values of another color.

62

WATERCOLOR WORKSHOP

Wk^I
^t\
Diagonal Variations. This third exercise involves diagonally intersecting forms in
fast-paced dynamic designs To force vanety into these plans, you might try one
study with an emphasis on diagonal shapes that have a horizontal rhythm. In
another, stand the majority of the diagonal forms on end and emphasize the
vertical. Fill some plans vi/ith great complexities Next, have a more open and
spacious plan Be vnilling to experiment, explore, and invent so you can release
the good design sense you have within you Carry on!

DESIGN UNITY

63

Painting Problems:
Introducing Subject Matter

The technical exercises helped

to enlarge your awareness and
control of the basic elements of
design. You practiced building
nonobjective compositions with

You distributed shapes with an eye for

satisfying, balanced arrangements. You were able to expand and diminish shapes until
you achieved a dramatic sense

a unity of design.

of scale in

your presentations,

and you were able

to

keep the

from rushing off the

page, thus establishing a feeling of containment. Now it's
time to make continued use of
these important design considerations as we add subject
patterns

matter

to

picture-building

the

problem.
The three demonstrations
that follow should be almost
self-explanatory.

Each

will

start

an underpainting that is
arbitrary in its conception (one

with

static,

one

diagonal).
will

curvilinear,

This

be the

and one

underpainting

unified structure of

design on which the subject

matter will be superimposed in
the second phase of the painting problem.

think that you'll

have greater success if you

consider these projects as design problems, not paintings.
Subject

64

will

be used and be

WATERCOLOH WORKSHOP

important, but don't allow yourself to

become so concerned

with identifying a specific bit of

material that you lose the free-

dom

to be a good designer.
Chose a subject you know well
and you'll have a freer hand in

adjusting

it

to

your needs.

Before you start painting, let

me make a couple of suggestions. The abstract underpaint-

each demonstration
be kept simple. More
shapes and activity will be
ing

in

should

added when

subject is
your underpainting gets too complex, then
the

superimposed.

If

final result will be overworked and confusing. Secondly, keep your underpainting

the

no darker than a middle value.

Save the middle darks and final
darks for bnnging your subject
into focus, and you'll have little
trouble producing a clear and
structural statement.
I've

sive

used 18"

x 24" inexpen-

drawing paper

these

for

paintings, divided into four 7" x

10" work spaces.

think
advantage at this stage

it's

an

to feel

free to experiment. You'll

need

two colors (burnt sienna and

phthalocyanine blue) and your
brushes.

--

S(ac P/an, %\ep 1. The first step

tliis two-phase painting will have
exactly the

same

in

nonobiective goals

as the preceding exercises. The

underpainting design will have a static

shapes Just paint

unity of overlapping

shapes, not things, and concentrate

on scale, balance, and containment.

Use colors up to. but not deeper than

middle value. Develop various
mixtures of burnt sienna and blue to
distribute

warm and

cool color

throughout the design.

keep

n
f

this

Remember

to

phase uncomplicated -the

yet to come.

subject

is

Step

Now

2.

start

suggesting the

basic arrangement of your subject on

page I recommend doing a

close-up view so you have large,
designable shapes to work with. Paint
directly with a big brush using a
middle-dark mixture of color. Paint the
the

shapes

that give the

first,

simplified

suggestions of your subject,

concentrating on distribution and
balance You don't have to fit" your
subject exactly to the underlying

Some shapes will have to be

superimposed in a fashion that Jogs"
the design beneath The goal of this
organization is to have unity in both
structure

the underpainting

and

the subject.

Translate the forms of your structures

into primarily straight-edged, static

shapes A few diagonal and curving

rhythms

will

supply

some

interesting

contrast.

DESIGN UNITY

65

Curvilinear Plan. Step

plan

in

the

1.

Start this

same manner, but

this

time

establish an understructure that has a

dynamic unity. There is no need

and arrange this design to fit the
subject that will be painted later It's
more important to make certain that
the foundation of shapes has a good
balance, bold scale, and a pleasing
distribution of warm and cool colors.
slow,

to try

2. The subject will be introduced

by simple shapes of middle-dark
values, and should be freely
influenced by the curvilinear design

Step

theme. Use horizontal,

vertical,

and

diagonal movements, but don't let

them overpower the major theme. One
way to handle these straight-edged

shapes

in

a subordinate manner

is to

intentionally interrupt them. Let the

underpainting suggest just

how and

where the long straight edges can be

broken into smaller segments.

'^.i

^laii:;,^
i

66

WATERCOLOR WORKSHOP

Diagonal Plan, Step

more dynamic Iheme

1.

This time, a

will

be

set

up by

diagonal patterns ol well-scaled

shapes. Color can be used selectively
at this stage to indicate subject.
However, dont overlook the need to
organize the abstract balance ol warm
and cool throughout your composition
An all blue sky. lor example, might set
bold, cool note that would be
impossible to counterbalance in the

up a

foreground

Step

2.

The shapes that build the

subject will again be inlluenced by the

underpainting Notice the dramatic

diagonal thrust

in

my

example. Not

only does the building coordinate with

theme of design, but

and foreground also fit

the underpainting

the trees, sky.

dynamic design really

obtained by
introducing a minor amount of static
design. A right angle and a few
the pattern. This

needs the

verticals

stability

and

horizontals are

judiciously placed to build accents

and stabilize the composition The

curved shapes are selectively used to

into

add

further visual interest

Color

in

the

underpainting subtly identifies the

different areas. In the final stages add
middle and dark values, using the
bolder color to strengthen the

description.

DESIGN UNITY

67

Nazare. D'Arches paper, 19" x

29".

Portuguese fishing village

centers around the beach from before
dawn until dark I sketched and
painted there for three days, and this
is one of the results Notice the
simplified handling of the figures. The
seated group sacrifices identity, but
not at the cost of character These
figures are painted with the same
Life in this

direct simplicity that

used

in

the

boats and buildings. The distant lineup

of

people was handled

a lost -and -found

intentionally in

manner

to

keep

it

from competing with major portions of

the composition

The background

buildings were designed in a similar

manner

68

for the

same

reason.

WATERCOLOR WORKSHOP

<(,Uj (*M* ".

DESIGN UNITY

69

7n

WATFRCOLOR WORKSHOP

Structured

5.

Middle Values

Peace People, detail Linkage

the lights and darks were the
designing tools used to turn

of

each

figure separately.

made
light
to

a controlled pattern of
that flows from one person

another

Some

dark portions

of the figures are united to

background

darks. The final

patterns achieved are

more

interesting than stark silhouettes

would be. and they become a

pari of the rhythmic

movement

that unites the composition.

experienced painter,
first underlayer in a

many
sions

new

You'll

easy. Finishing a watercoior by

adding the "icing on the

cake" the final calligraphic
lines and small color accents

is

pure

joy.

The real challenge lies in between these two stages of a

painting. The structure of the
middle-value shapes links the
underlayer with the details and
provides the bulk

of the paint-

small, trial-and-error ver-

of the same subject.

concentrate on developing strong middle-value structures, the necessary framework

painting the

watercoior with unworried

freshness and sparkling color is

these figures into interesting

abstractions Rather than
painting

For the

In an effort
sense of scale and
to permit an ease of passage or
movement about the page, a

too often bypassed.

to obtain a

linkage of subject-matter patterns

helpful.

is

If

you paint by

the piece with a hard border

around every section

subject,
overall

you'll

find

of

that

design becomes

your
the

terribly

ing overlaid

and nervous in its edge

qualities. To keep away from
this problem of creating too

tire

many compartments, work

Often one sees a watercolor with excellent underpainting.

by details. The enbody of the picture is missing and the final accents seem
to float in space This is like a
story with a good opening, an
exciting ending, but no content.

Painting Middle Values

The exercise that follows will

give you the chance to do

active

with

your big brushes and search

for the pathways of linkage that

allow the pattern to flow

smoothly through the outlines of
your subject. This linkage establishes a simple, calm foundation of middle-value patterns.

STRUCTURED MIDDLE VALUES

71

light,

balanced underpainting

suggesting the basic divisions of

space that the subject will occupy.

-1K.

-^

The

final

detail

calligraphic

rendenng

describes the barn,

of

trees,

and

foreground objects.

Together, the underpainting

and

fragile result

The

stage create a

final

drawing floats on, but is not

connected with, the underpainting
There are no substantial middle-value
patterns to bind the painting together.

72

WATERCOLOR WORKSHOP

Here

is

an example of the

middle-value shapes that can

needed substance

add

the

to the painting

The same painting plan now has a

middle step added This bold
patterning ol shapes provides support
for the final drawing and smaller

accent patterns. I suggest hanging

your drawing on a shape' by building
a range ol middle-value shapes in the
painting. Then,

when

calligraphic detail

is

the final

painted, the result

will be a substantial watercolor with a

pleasing completeness.

STRUCTURED MIDDLE VALUES

73

Exercise: Middle Values

and Saved Whites
For this study

you'll

need 18"

24" white drawing

marked out my page

paper.

x
I

with eight

separate rectangles, each approximately 41/2" X 7". You'll also

need some waterproof ink or a
felt marker, just one tube of
color for the middle-value painting plans, and your Number 12
pointed brush. You may wish to
try a smaller pointed brush for
the original ink drawings.
The goal of this exercise isn't
to paint finished paintings.
Rather, you should do many
thumbnail-sized plans that explore the different arrangement

middle-value masses. You

should notice how a variety of
of

shape impressions can be

made with the same subject.
A good starting point in each
new exercise is to plan and
save the whites.

In

watercolor

painting the white paper

beautiful accent,

so

display

lights

the

of

in

drawing.

74

is

try to shift

WATERCOLOR WORKSHOP

each

and a small brush (or a waterproof

draw a simple plan of how your sub/ect
will fit on the page Repeat the same plan in all eight boxes.
There is nothing wrong with tracing the picture in each box
if you feel it is necessary
However, it is quicker-and good

step

1.

felt-tip

Use

India ink

marker)

to

practice -to duplicate the layouts freehand.

Slep 2. With a large brush, paint some simplified, linked,

middle-value patterns that will distribute and balance the
major masses In this exercise, the saved lights will be raw
and commonly while, but in an actual painting they could
include delicate variations in the underpainting The dark

3. Try another plan using different arrangements of

these linked, middle-value patterns Select a different set of

Step

lights to save.

Keep

it

simple,

and don

paint too

many

separate parts.

accents and finishing details will come easily if the

middle-value structure we are searching out is successful.

^^irT^^Lp^'

r-ul^^

waa

ig*= ^rg^^a^
4. Continue to fill your page with
experiments Each new plan can
explore a different arrangement of
patterns that will search out new

step

new

structural organizations

these exercises

how changeable

It

is

Do

all

eight of

interesting to

see

the major patterns

can be although you are painting the

same

sub/ect time

and time

again.

STRUCTURED MIDDLE VALUES

75

Painting Problems:
Using the Middle Values
a complete painting that attempts to mal<e good
It

s time to try

of the often-neglected
middle-value structural organization. This will be a threephase approach to doing a

use

The first phase will

be the blended wet-into-wet

watercolor.

underpainting that distributes

beginning color divisions

the

and indications

of

substance

the various parts of your

in

com-

darkness to
middle value as you concentrate on the balance and scale
position. Limit the

composition. Save a
lights to add sparkle

of the total

few choice

painting.

to the final

ond phase

will

The sec-

have the same

Use the

other 9' x 12"

it

statement from the first painting. It should be interesting and

same

tance of good value control:

your first painting turned out to
be weaker in the middle values
if

paint to

phase.
Use a half-sheet of stretched
watercolor paper, marked off
of the final third

two 9" X 12" painting areas.

palette of yellow
ochre, burnt sienna, and
phthalocyanine blue an earth
yellow and red and a very
into

limited

transparent blue

rich, full

dition,

brushes,

is

enough

page

will

of the

tend to dilute the

color you applied,

lightens as
little

it

bolder

and the

color

dries. Plan to

be a

when you apply

compensate

for

the ex-

pected fading.
At this time value control

more important than

However,

this

is

color.

repeated study

should help you to search out a

variety of mixtures from the
same limited palette. Save your
purest colors for the

final

ac-

The bulk of the page

should have various degrees of
cents.

color intermixings so a transition

is

established

from the

large, neutralized areas to the

equipment large
water container, tis-

middle-sized and middle-rich

pieces to the small accents of
your cleanest pure color.

sues, sponge, etc.

76

for

be ex-

need your normal

you'll

working

color painting. In ad-

this is to

dampness

than planned,

page. These shapes are the

building blocks that will support
the smaller descriptive detailing

time.

about the impor-

hint

final

dif-

subject might

be presented a second

pected. The

as the

how

informative to see just

ferently the

previous exercises. Search for a bold structure of middle-dark value patterns of linked design that
create a firm image on the

goals

space

again.
on your paper to try
Another of your exercises can
be a guide for starting this second painting. Although the subject and the basic composition
will be the same as before, pick
an earlier design that makes a
completely different shape

WATERCOLOR WORKSHOP

V
I-

^iep

1.

On one

half of your stretched paper, pencil in

a simplified composition

plan of your subject Your major concern should be the placement of the various
parts of your subject matter, leaving refinements to be painted later. Dampen
your paper, and immediately start painting in the first casual impressions of the

middle values Paint out enough of the page to "limit the

Work quickly so all these shapes will remain
soft-edged and undemanding. Value control is essential.

local color using light to

whites' to selected accent areas.

STRUCTURED MIDDLE VALUES

77

-t.

4
step 2. Now comes the supporting structure that is the real point ol this
problem. Using a big brush and deeper, middle-dark values of local color, paint
a bold, balanced arrangement of linked shapes on the underpainting. Pick your
design plan from the previous exercise as a guide. Because the page is
will be slightly diffused and soft-edged. You may find
that you are having trouble making your shapes stay where you want them. To
gain control, work with your board at a slight angle, not flat. Or try a thicker
mixture of well-swiveled color in your brush so the moisture in the paper won't
run away from you. This controlled handling of wet-into-wet might be better
favorite
still

damp, these shapes

described as "drybrush

78

into wet.

WATERCOLOR WORKSHOP

Step

be

3.

As the paper becomes

carefully introduced. This

colors to paint calligraphy

Remember, hang"

this

is

and

shapes can
and richest

dryer, the firm, important "in-focus"

the time to use your boldest darks

details -the final

touches

to the

subject

information on the middle-value shapes you have

prepared Don't just float it out in the middle of the open space. One caution
about the finishing process: Be careful! Avoid the trap of detailing every square

page with equal love and tender care There are important areas
be turned on" with extra activity, strong value contrasts, rich color
and hard-edge qualities, but many portions of the page should remain calm,
softly diffused, and inconspicuous.

inch of your
that

need

to

STRUCTURED MIDDLE VALUES

79

:^

a
(

Sunny World of the Live-In Sculpture

D Arches paper. 26
lor this painting

flying

40

The impetus

was a sketch did while

I

home from a Sausalito,

California,

workshop The sketch gave an

overall

impression of the wharves, boats, old

buildings,

and

rickety piers clustering

beside the bay Structural interest

placed on the unusually high horizon
line

makes

this

composition.

an

intriguing

Rockport Shrimp Boats. Cold-pressed paper. 14"x20". This

was concerned with the
scale of the middle-value shapes I was painting and the lifting
of some lights for dispersion of active interest around the
added the crisper
sheet. As it neared the drying stage.
shapes. Only then was I interested In banging the subject
matter into focus. The abstract design underneath and the
techniques for creating a glowing surface were more

painting started with the glaze.

Important than the identification of a particular place.

82

WATERCOLOR WORKSHOP

Regaining

6.

the Lights

and dark

Contrast of

light

fundamental

to art, for without

is
it

perceptransparent watercolors light comes from the

paper, not from white paint.
Planning and saving the

there
tion.

limited visual

is

With

whites

planning

to

leave

areas of bare paperhas been

a valid and well-used method

A saved

white

a beautiful,
clean thing, but other kinds of
light

is

are also useful. Lights can

be brought back into a

painting after the paper is covered with color even color
deeper than middle value.
These lights have a different
quality than saved lights, not

also

necessarily better, but certainly

handsome.
In this

chapter both standard

watercolor brush,
oil

the

stiff-

paper napmatboard scraps,

brush,

kins, blotters,

tissues,

and masks made

of

file

cards or credit cards all make

possible tools for lifting off
paint

The following dry and wet

^J.if^H^JS,',

to easily

at

a time.

It

worried underpainting that

enli-

vens the finished work.

These are exercises that
should encourage exploration
and
experimentation:
expanded control of standard
brushes and different tools will

new

lead to

creative results

and

greater excitement.

Dry

Methods

Lift

These

first

lift-off

because

methods are

demands

free from the

you'll

of time

be working on a

sheet that has a glaze already

painted on it and is dry. The

more opaque

colors (such as

the earth colors,

cobalt

blue,

and the cadmiums)

make good choices for the
glaze.

When

the staining colors

(such

as monastral blue,
phthalocyanine blue and green,

and alizarin crimson) are used

in heavy saturation, they don't
lift
off readily and therefore
aren't

recommended

for

these

background glazes. With a

little

a variety of light areas

can be created within the dry
glaze using several lift-off
care,

lift

exercises will be done on preglazed watercolor paper. The

glazing of a full page has advantages beyond the opportunity

done one section

black,

and non-traditional tools will be

used to regain the lights. The
bristled

is

also establishes a glowing, un-

lift

off

color

It

can

create an overall color unity not

easily attained when a painting

methods
Dry

Lift

After

with

Large.

glazing,

Soft

carry

Brush.

large,

well-dampened brush to the

dry page and wet the areas you

REGAINING THE LIGHTS

83

plan to

Clean the area

lift.

Rinse
out the brush and repeat. Give
the dampened pigment time to
slightly

the

with

brush.

soften, then rewet the area and

lift again. When you have lifted
off most of the pigment, quickly

wipe the area with a tissue to

prevent a watermarked edge.
You'll find that a fresh, glowing
light has been regained. Try a
variety of brushes in this exercise. The 1" flat watercolor
brush can lift out large areas as
well as "stroke out" long, thin
shapes when used with a light

moved

touch and

side to side.

paper

shape and sponged along

the edge or cut out like a stencil and sponged inside the exposed area.

lift-off will

to a

Lift

with

Stiff

An

Brusf).

oil

brush perhaps a Number

8 with the handle cut down so

it

fits

other watercolor

with

brushes,

one

is

tool

for

this

method. A small stencil brush

groups of bristles shaped

with

each end

differently at
for

lift-offs,

too.

is

useful

Using a

scrubbing motion, it's possible

to wet an area, wait to give the
pigment time to dissolve, rewet
and wipe dry immediately
it,
with a tissue. For regaining a
small, controlled area of light,
this is a good method.
Dry

Lift witti

Sponge and

l^asking.

Soften an area with a

damp,

but not dripping, sponge. Give

moisten
A final quick

pigment time

the

and then

lift

off.

to

and

on the other, little

be held
file card masks can
down against the page. Use
two cards to form a corner;
sponge across this corner and
lift off. Dry the area quickly and
this will bring back nearly white
paper. Other materials to use
as masks are post cards, any
paper, or even credit
stiff
side

84

soft

WATERCOLOR WORKSHOP

artist

must

lift-off. If the paper is shiny,

but not flowing with dampness.

wet

Wet

We

Lift

Methods

continue the search

ways

new

for

to create light. This isn't

the time to record nature, but to

expand your techniques so that

you can translate nature
through appropriate watercolor
Therefore,
you
methods.
shouldn't say to yourself:

"How

sky? How do
shingle or tin
roof?" Instead you might look

do

copy

that

up and

think:

out that area

to

"I can squeegee

and bring texture

a single,

in

life

effective

can make the old

wood surface happen by blotcan make that sun look
ting.
stroke.

Wet

Cardboard Squee-

with

Lift

Cut leftover matboard

pieces into little wedge shapes
that have good, sharp, straight

gee.

edges. With a clean, dry edge

it's
possible to pull a firm,
single squeegee-like stroke ac-

down

ross or

a portion of the

damp

page; this wont clean it

to pure white, but will squeeze
the color from the top roughness of the paper and create a
light, textured area in the process.

base

If

some

of

the

of the color at the

luminous by

wet

lifting

don't worry;

the

it

puddles,
blend in with

stroke

softly

re-

moved.

will

surrounding

damp

color

and won't look as obvious when

dries.

paint off with a soft brush."

I'm not prescribing formulas

such as: "This is a sun stroke.

This is a roof stroke." Instead,
be trying to help you enlarge
your vocabulary of techniques.
Your part is to adapt them for
your own use. These lift-off
techniques are presented one
at a time and can be studied
step-by-step. But remember,
when you use them in paintings
you should loosen up. experiment, and have fun!
I'll

stroke with a tissue dries the

area and prevents a watermark.

If
you want crisp shapes, or
shapes that are crisp on one

occur. The

learn to judge the timing of the

it

light

is

surface color can easily be

recreate that
Dry

too dry, no immediate

cards. Also, paper can be cut

Wet Lift with Brush. These techniques are done while the area
of paint is

still

wet.

Wash

out a

brush and thoroughly

squeeze out the excess moisture. Then lift off a circular
shape by siphoning mopping
the color from the chosen area
as the brush is twisted and
pressed down in a continuous
motion. If the sneet is too wet,
large

"

the color

will

flow

back

into the

area you have cleaned.

If

the

Wet Lift with Brush Handle. Using

a brush handle (some are designed for this purpose), a
knife, or the edge of a plastic
spoon, firmly squeeze out the
color from the page. With the
tool held at a high angle, narrow strokes can be lifted off.
When the tool angle is more
horizontal, a wider stroke can

be made. These strokes are

very useful in "opening up"
dark areas in paintings. Press
firmly, but don't abrade the
paper.

There are
materials
such as blotters^i^that can be

Wet

Lift

with

Blotter.

many

absorbent

cut

torn

or

into

shapes and

placed directly on the painting

to lift off wet color. f\/latenals
that have a pebbly-textured or
patterned surface, such as
paper towels or napkins, will
leave some of their texture on
the lightened area.

Dry-lift

Techniques

Wet-lift Tectiniques

REGAINING THE LIGHTS

85

Exercises:
Practicing Dry Lift-Offs

Good paper

is

element

lift-off

in

the

A cheap grade
paper
color

is

an essential
of

tecfinique.

watercolor

usually soft, absorbs

more deeply, and cannot

withstand scrubbing.
Stretch a half-sheet of 15" x
22" watercolor paper and mark
off

two 9" X 12" areas. You'll

light yellow, orange,

need a

cobalt blue, and black colors.

addition to your normal

brushes (Number 12 round and
In

1" flat) you'll need a small

scrubbing brush (a stencil

brush or a small bristle brush),

a sponge, tissues, and some
post cards or stiff paper for
masking.

Begin by laying a horizontal wash using a middle-light value of Winsor

and lightens as it flows down the page.
This is called a graded wash. Immediately lay a second graded wash, using an
orange of middle-light value and keeping the page wet by working quickly. If one
layer is painted over another that is still wet. the two will intermix spontaneously. I
refer to this as keeping the paint active. Keeping these layers still active, lay a
bold cobalt blue wash, middle value, from the base up. followed by a black layer
from the base up. You might find it easier to control these last two washes if you turn
the board upside down and thin the washes slightly as they move down the page.

step

J.

yellow that is more concentrated at the top

Now

let this

glaze dry.

glazed sheet, try all the methods suggested in this chapter.

wet brush, making sure to allow time for the pigment to soften:
wet. rewet. and wipe dry Use the stiff brush for smaller lift-offs For straight-edged,
firm shapes, use various materials to mask out areas and sponge the pigment off to
regain glowing lights Keep the shapes clean and simple. Later painting can
strengthen the area. Right now, we are interested in rsgaining luminous light
shapes.

Step

2.

Using the

dry,

Try lift-offs with a soft,

86

WATERCOLOR WORKSHOP

Exercises:
Practicing

Good

Wet

Lift-Offs

watercolor painting

ways a challenge

Is al-

especially

enjoy the battle that takes place

when

face the problem of

manipulating colors, values,
and shapes on a wet page.
Many exciting effects can be
rapidly achieved when you're
I

mechanics of
medium. Try a squeegee

familiar with the

the

page

stroke while the

is still

too

wet and the color rushes back

into the area you had hoped to
establish. Wait a minute too
long and the color has firmed
up so It's immovable. Judging

degree

the

sheet

way

dampness

of a

and there is no
master this exact sense

to

timing

of

of

IS critical,

other

than

through

You've read the instructions

several

color off a

study

all

methods
still

join

of

lifting

Now

wet page.

the information

in

the

jump right in and

the masses of frustrated

exercise; then

is still in its wet stage -shiny, but not flowing with moisture -you are ready to
begin Use the brush lift and cardboard squeegee h/lake narrow and wide strokes
with the brush handle Lay some simple shapes, cut from blotters and napkins, on
the surface and lift off. Work directly with bold, single strokes. Remember: the goal
is not to define the finished subject, but simply to pull back some glowing lights.
Later on. when doing a painting, you can add middle values and darks that will
define the light shapes, giving them an expressive character.

glaze

experimentation.
for

Wet Lift-Offs. Lay a graded wash with layers otraw sier^na and manganese blue in
Keep the page active. Prepare all materials ahead of time Cut
up cardboard scraps into rectangles of different widths to be used in squeegeeing
out color Tear up or cut up some blotters, paper towels, and napkins. When the
middle-light valves.

watercolor buffs.

REGAINING THE LIGHTS

87

Painting Problem:
Rustic Cabin

Now

you'll

put

the

metfiods wet as well

use a painting
to

It's

in

innportant to

ject

well,

eitfier

lift-off

as dry
project.

know your sub-

recommend

tfiat

you use the diagrams

I'm

supplying or choose a familiar

subject of your own.
Take a look at my preliminary
sketch nearby. It's a reference

do little or no drawing
on the watercolor page. After
developing the starting glaze,
want to feel completely free to
design and adjust the distribution of the major light shapes
that start the composition.
These lights will be a variety of
only

I'll

surfaces that are the result of

lift-off
methods. With middle

and

values, dark patterns,

color details,

the light

I'll

further

shapes while

final

develop

I'm paint-

ing.

think of this defining pro-

lights.

them their identity.

You cant put everything you
know in one painting. Each

you need to work quickly, and

you have to know where you're
going before you jump in.
Rustic Cabin is 14" x 20",
painted on rough, stretched
watercolor paper. The glaze
was developed with layers of
raw sienna, manganese blue,
and burnt umber. The over-

painting

is

a translation of the

subject a simplified statement. The glaze beneath

creates a unified color mood.
with sparkling

To experiment

created

in the lift-off
reason enough for
starting a watercolor painting.
Know your subject ahead of
time. Restrict initial drawing to a

lights

manner

is

minimum, and let the structure

develop during the painting
process. Build some simple
design shapes that give scale
and balance to the middle val-

Preliminary sl<etch for Rustic Cabin.

WATERCOLOR WORKSHOP

and

Before starting to paint, read

ahead and be sure you understand all the stages of the process. There will be times when

in

IWr^'p

88

ues, darks,

terms similar to sculpture

chiseling or carving
away at the lights with darker
surrounding shapes to give

cess

was done primarily

same three colors, but
sienna was added for

painting
with the

burnt

on
warmth.
Later
extra
phthalocyanine blue was used
to mix the transparent darks,

and a sprinkling of other colors

were added for the final, small
accents.

step

1.

For the glaze, use either of the color combinations already explored, or

better yet. pick your

start with

one

or

two

values over the top.

and

own

for

new mood you want

to express.

Remember

to

light-value colors underneath, then put layers of middle

(In

my

glaze

I've

used raw sienna followed by manganese

burnt umber.) This time, keep the glaze darker

(a middle-dark value) at
enclose the subiecl You're going to
stage the major activity within these darker values, keeping the glowing parts
inside and allowing less emphasis near the edges.

blue

both the top and the bottom

in

order

to

REGAINING THE LIGHTS

89

step

2.

Immediately work

in

some

large

shapes

ot middle

and soft, middle-dark

value-the upper sky. the foreground shadows, a portion of the wooden cabin,
and the background trees. Local color identity can be expressed at this time.
Paint the sky a different color from the cabin. The roof can hint at a color of its
own. Identify trees and foreground as slightly individual color notes. Strike these
things in while the

page

weight and bulk. Keep

90

it

is still

damp. The

soft

simple. The details

WATERCOLOR WORKSHOP

shapes

will

will

give the painting

be reserved

for later.

step

3.

chance

Work quickly to explore some simple wel lifts. Before the painting
to set. you can create the circular moon shape with a brush lift.

Squeegee
Don't

out a roof area, a portion of the building,

try to finish

and some

tias

of the hangings.

these areas, but develop a balance of lights-a group of lights

around the page From the largest area to the smallest,

be scaled in size and distributed through the painting to create
and contrast.

that distributes interest

these lights

will

both interest

REGAINING THE LIGHTS

91

r^

i?^-*"

^mgm
step

4.

By now

to set. and you can introduce some

shapes of a middle-dark value to add weight
These shapes will identify the character of the subject

the painting

is

beginning

structural, firm darks. Paint linked

and mass

to the painting.

Rather than finishing each

picture. Later,

part, try to

you can hang the

shapes.

92

WATERCOLOR WORKSHOP

balance these

new

weights throughout the

on these dark

details of the various surfaces

Step 5. Firm shapes were built witti some of the middle-dark values in the
previous step Now. use dry-lift methods to search out crisp, light shapes that
can strengthen the sub/ect and balance the final glow of light throughout the
painting

The painting

these last stages

is dry.

Keep

the

and you can

lift-offs

simple,

take

and

all

the time you

limit

them

need

to

to three or four

plan
choice

an edge of the building to separate it more clearly

from the background) Respect the tenderness of the paper: try not to scrub
these surfaces any more than necessary. Later you can do a small amount of
fresh brush drawing in portions of these lifted lights, blending them back into the
painted sheet The lifted light areas should function as integral parts of the
areas, (for example, lighten

painting rather than unrelated afterthoughts.

Step 6 (Overleaf). Now the rush of

emotional work is over, and it is time to
finish the painting. Not every portion of
this painting is of equal importance.

Some

parts

need

to stay out of focus,

semi-finished, so they

dont compete

with the major areas of design

finish

game, with
strokes

Try to

good golf
a minimum number of

a painting just

like

Selectively distribute

interest-catching areas of activity, both

dark and

as well as richness of
around the page. Do
not fill every square inch equally with
refinements. A limited amount of bold
detail -colorful, transparent, dark
accents-and informative drawing will
make your painting sing with vitality.
color

and

light,

detail

REGAINING THE LIGHTS

93

%
\

It

.>?*

t,

>3

'^

'

ff^

-<>,

'S-

.^

i^A
VkoiMr

%
X
*

V>

;T)i^^

Figures in the Trees. Aquarius paper. 22" x 30". This

began with a discovered composition" as a
foundation. The subject matter is superimposed over it with
inventive, firm design control. I believe most students have

painting

good sense of design, but it can be easily overpowered

by the demands of rendering a subject This method of
painting-starting with a well- organized nonobjective
underpainting-releases the natural command of design
controls. With practice, this command can be maintained in
the overpainting when subject is added.
a

96

WATERCOLOR WORKSHOP

Dramatic

7.

Staging

The normal value range

is

one

in

which the bulk of the painting is

enveloped in the middle-light to
middle-dark values. They further
a painting's sense of structure
and mastering this normal range
of gutsy middle values is basic.
Accents of whites and darks are

added

later for

boldness

or

sparkle.

chapter, however, we'll

In this

explore arbitrary uses

of

value

neutral

key paintings.

be

low-key plan could

but I've instead

totally dark,

devised a painting that

is,

in

By
painting the bulk of the page
darker than middle value and
surrounding the few saved light
forcing

effect,

areas with
is

the lights.

rich darks, attention

dramatically directed to the

quality

To subdue the shocking

of the accents, which

The illustrations on the next page

show the changing moods that
can be expressed by different

might
page,

it's

value limitations.

into the

Key

lights.

to "Value Control

Normal Value Range. The majority

of this composition is covered by middle-light to

middle-dark values. This allows

the whites and final darks to
both be important accents. To
coax you out of the normal
range, however, study the values shown in the other three

of

seem

to

jump

helpful to

the

off

portions

let

them soften and gently blend

background darks.
Boldly

Middle-Key.

contrasting

and rich colors against

neutral ones of almost equal
value can result in a dramatic,
colors

middle-key

painting.

All

pure

whites are painted out, and the

entire

values used is in
The needed conare formed by pitting cool

range

of

the center
trasts

illustrations.

against

High-Key. This airy, light paint-

against

ing includes nothing too dark or

painting that the magnetic de-

bold,

but

Structure

It

is

isn't

wishy-washy.

strongly delineated

even though the painting

reserved
of

!*>^^iiJ^^,

Low-Key.

purely for dramatic effect.

-^

and the restrained use

darker values are points to

consider in planning the high-

of

in

effect

interesting

harmoniously
cool

and

is still

The choice

colors arranged

warm
rich

against
against

warm and
dull.

It's

in this

brilliant

type of

is most important:
and glow come from
the intense purity of color com-

sign element
vibration

petition.

Experiment with

strong contrast of

the

complemen-

colors
blue
against
orange, red against green, etc.
tary

DRAMATIC STAGING

97

Low Key

Middle Value

98

WATERCOLOR WORKSHOP

Exercises: Colored Value Pl2ai8

On

18" X 24" inexpensive white

paper, make four full-color

thumbnail experiments of a
subject you know well. I'm
using a

new

subject (an

adobe

Golden, New Mexbe explonng restricted

value and color controls to obtain a range of strikingly different effects. Mark off your paper
in 7" x 10" areas, and use a full
range of colors along with your

church
ico).

at

I'll

normal watercolor equipment.

Using the following illustra-

Normal Value. Use a

full

as examples, paint (1) a

normal range value study, (2) a
high-key plan, (3) a low-key

light,

plan (that

the

tions

and

(4)

will

force the lights),

a plan using only the

middle range

of values.

Notice the changed

each

of

mood

in

the paintings shown.

Besides being four versions of

a theme, they're really four
separate paintings, each exciting

in Its

own

special staging.

The painter has the

tools to

spotlight, to dim, to flood with

range of values. Pure

ligfits

and

and

Like

all

at his

the theatrical

and the movie maker,

director

creates a mood with

dramatic control of light. The
artist has power not just to record nature but to create a
artist

The more he beof his power and

exerts
the more creative his
work becomes. Throughout this
book, the emphasis is always
on the creative power of choice

work

of

art.

comes aware
it,

that rests with the artist.

High Key. Keep your tones

middle value in
development of

lighter than

nchest darks should be kept to a minimum; they are the

accent tools of this plan. The bulk of the composition will be
painted in the middle range of values.

study. Patiently experiment with the

Low

Middle Value.

Key. Start with at least a middle value and paint out

most of the page The few saved lights will be dramatically
spotlighted Use your most transparent colors for the
middle dark and darkest shapes Soften an edge or two of
your harsh light patterns to blend them into the painting.

darken

to

command.

this

interesting color qualities. Start with clean, glowing color

and then

neutralize

This

some areas by

overpainting.

whole composition should be built out

Color will obviously be your

of near-middle values

strongest tool for creating the

needed

contrasts

Experiment with the strong clash of complementary

colors-warm against cool and rich against neutral.

DRAMATIC STAGING

99

Painting Problems: Value for Dramatic Effect

On good-quality watercolor
paper,

you'll

now

four

paint

half-sheet paintings that

will

be

carried to the finished stages.

Again the illustrations shown

are to serve as an idea
stimulator for you. I'm using the

same
I

basic subject again, and

learned in

plan to use what

doing the exercises, but these

be completely new paint-

will

ings.

New shapes

will,

of

^3V^" x 20".

in doing these
bigger paintings, and interesting, unusual color may develop. Instead of merely copying a previous plan, I'm going

sheet painting,

keep alert, cooperate with

what develops on the page,
and try to really become in-

on unstretched paper,

course, evolve

to

volved with the creative aspects of this exercise in disciplined color and value control.
Each problem will be a half-

have worked mine on 140

pound d'Arches watercolor
paper that stretched ahead of
I

time.

If

you're used to working

fine.

personally enjoy painting on a

sheet that stays perfectly

matter how wet
get it.
I

flat

no

You'll

need a full range of colors on

your palette plus your regular
working equipment.

f-

Normal Value. Cover most of the page with light values

that cut around and save an apportioned selection of
whites. Next, paint large shapes of middle and middle-dark
colors that

will

build structure. In the final stage, you

carefully paint a

tew

rich darks

and

can

color accents.

Low

Key. This will be an almost totally dark painting

middle value and darker, to force the lights into extremely
powerful accents A luminosity can be achieved in these
dark values if you choose your most transparent colors. The
saved, light areas need to be designed and distributed
carefully. When nearly finished, (develop a transition from
the whites into the darks

by softening a few edges.

High Key.

WATERCOLOR WORKSHOP

all

middle value. Gradually overpaint these shapes

with other pure colors, warm over cool and cool over warm,
and see how the page begins to glow. Some areas of
neutral color will eventually occur due to overpainting.

Middle Value. Color is the basic designing tool in this

The value contrasts are limited, staying within the
middle range. I tried to use bold, complementary colors
that would scream against each other. To alleviate the raw
brightness of too much pure color. I also used some
calmer, mixed neutrals. These subdued areas help to make
the painting rich, not just gaudy. The final mood is zingy

painting.

and

100

Try painting with clean, sparkling colors,

lighter than

tropical with plenty of verve.

Texas Tug. D' Arches paper. 73

20"- In this painting

"

was forced

to

explore unusual color qualities

because I set a
range before

example
contrasts

means

restnction on the value

started. This is

an

of the middle value plan

discussed
limited.

in this

in

the

chapter. With

work so

was forced

to

intentionally

explore other

page
became

of giving the

substance. Color

structural

the

tool-and a very dynamic statement

the result.

Mission at San Jose Creek. D'Arches

Here again is a
subject painted within specific value
limitations. I did full-color thumbnail

paper. 22' x 30

studies

first,

trying a normal-value

range, a high key. a low key. and a

middle-key plan. Each plan offered

good

possibilities,

middle-value plan

but the

seemed

the

most

exciting.

DRAMATIC STAGING

101

x U". The slight tooth of the board allows

rougher watercolor papers. The identity of
individual brushstrokes and stamping textures stays in locus on this sheet. It is
hard to achieve smooth washes, but if you work directly -trying to strike things in
with the correct value and color the first time -the painting glows with an intense

New England Light.

Bristol board. 11

different textural possibilities than the

vitality.

102

WATERCOLOR WORKSHOP

1
I

Ij.l'i?
Lobster Pote a( Mof/f I. D' Arches paper. 22 x 30". This is the final painting
done as a demonstration for a painting workshop I used a finder mat to discover
a composition in a magazine After pasting it on a card. I tacked it to the top of
my drawing board and painted the nonob/ective underpainting. I then let the
class choose which side it wanted up", and proceeded to do the painting from
memory of my earlier paintings and sketches Motif 1 is so named because it
has probably been painted more than any other location in the nation. Using an
arbitrary underpainting provided the unique composition that, I feel, makes this
an interesting version of a very tired theme.

/^/^$a>jS.r
Northwest Inlet. D Arches paper. 22 x 30 I used 140 lb paper, and I folded
and crumpled it before painting This is a powerful way to create patterns that
are useful, different, and not possible with standard brushes While the full page
was wet and the design still tentative. I folded the sheet back on itself to provide
more patterns Using middle values. I began suggesting the sub/ect, and then
finished with darks, and color accents Before the page dried. I stretched it flat
on my board.

DRAMATIC STAGING

103

D Arches paper. 22 x 30". Exciting areas were

created in this painting by lift-offs, stampings, and spatters.
They symbolize the different surfaces and types of material,

Pier A.

and they give them their character. Unorthodox tools can

be used for a wide variety of textural effects. The challenge
to apply them selectively-balancing textured areas
against restful plain ones -and to keep the total effect
is

mind.

104

WATERCOLOR WORKSHOP

in

8.

Surface
Variation

Brushes are but one

watercolorist.

can achieve
with

salt,

interesting effects

a brayer. or
number of other
use many means

blotter,

a limitless
materials.

tool for the

creative artist

and methods to control the flow

of pigment and water on paper.
However,
don't think of them
I

as

guarantee sucMy aim is to

paint a variety of textures on
tricks

cessful

that

results.

the picture surface

in distinctive

and pleasing contrast to normal

watercolor effects. Enhancing
the surface creatively adds a
personal

subtle,

quality

to

painting.

Anything Goes
In this

chapter,

You'll

exercise

be given a technical

with

illustrations

of

varied textural effects and the

methods used to achieve

them to suggest ideas for

your

first

experiments.

The painting problem

that fol-

lows involves the use of inventive textures with a conscious

purpose. The final surface variations will be practiced effects
that attempt to evoke an intriguing range of tactile sensations.
enjoy freshness and vitality in a
I

good watercolor

and

painting,

these techniques can enlarge

your
command over the
medium and provide a quality
of "controlled casualness. and
not just happy accidents, that
can add new life to your work.
"

I'll

introduce a

anything goes
toward the possibility of

free-wheeling,
attitude

painting with "foreign" materials.

SURFACE VARIATION

105

Exercises:

Discovered Patterns

Use stretched paper

good

of

two half-sheets
or a full sheet. Each experiment
will be done on an area approximately 4" square. Use any
quality

color

either

you

like,

but

remember

to

select the less staining colors

whenever you plan

ment off the pageRead through the

accompany

that

to

lift

pig-

instructions

the

illustra-

then gather the materials

you'll need. When you're ready
to start, draw some strokes and

tions,

Paper Towel, or Napk/ns.

These materials can also serve to lift
out paint. Each one leaves its unique
pattern. The materials can also be
crumpled for still different textures.
Tissue,

Crayon Resist. White and colored

crayons can be drawn on the page.
The wax will resist the watercolor
wash that is painted over it. letting the
crayon show through.

Squeegees. Using cardboard scraps

or credit cards, firmly drag pigment
from an area of the damp watercolor
page.
with

It

will

leave a lightened area

some paper

texture showing.

Blooms, or Waterspots. Touch water

damp areas. As the page
dries these waterspots enlarge and

into barely

form interesting patterns. Clear water

can be sprinkled, dropped,

on the painting.

or

brushed

Cardboard Stamping. Apply paint to

cardboard scraps of different shapes
and textures and then stamp these
into wet or dry areas. This will transfer
impressions of the paint patterns.

with both a light and

dark crayon in your first work
space; then cover the space
with a bold wash of middledark value. You're on your way
to experiencing some different

shapes

creative watercolor techniques.

many of the suggestions

as possible, and more important, invent your own methods
Try as

applying and lifting color.

There are no rules, so feel free
of

Sand and

memorize
a few strange methods of ap-

Gravel. These
nonabsorbent materials sprinkled on a
wet wash will gather concentrations of
color around each spot of grit. The
loose material can be brushed off after

plying watercolors to paper.

the

to experiment.

exercise

is

to

The goal

of this

teach you to be

inventive, not just to

106

WATERCOLOR WORKSHOP

page

is

dry.

Brayer. Paint can

several colors,
or dry

paper

Continued

muddy

be applied

roller),

Try just a stroke or two.

rolling will

color.

to

perhaps in
and then rolled on wet

brayer (an inking

mix up a layer of

Toothbrush Spatters. Scrub a damp

Clean-Water Spatter. Fling clean

Blotter Lift-outs. Blotters can

toothbrush into pure pigment With

water droplets off the brush or fingers

onto the painting. Different effects
result from damp versus nearly dry

off

your thumb, pull the bristles back and

Mask

spring color toward the painting.

areas with cards or cut paper to

control the

shapes of the

spatters.

Other Stampings. Paint can be

applied to a leal and then pressed on
the painting Try stamping with a
spool, the

end

of a

pen cap.

or

an

eraser

Palette knife.

dab

palette knife

can

drag pure pigment on

wet or dry paper The edge can be

either

used

or

for creating

very thin

lines.

paper.
will

If

show

the
for

page
your

is

very wet. nothing

efforts.

damp

the blotter

lift

paint

watercolor The texture of

will

show on the paper. Try

down for different

leaving the blotter

lengths of time. Try a

little

pressure:

try

a firm blotting.

can be sprinkled on a moist

pigment will be absorbed by

Screens. Paint can be applied to a

piece of wire screen and then
stamped on a painting: or paint can be
brushed through a screen placed on

Salt. Salt

the painting.

patterns

Brush Handle. The chiseled handle of

a flat watercolor brush can be used to

Sponge

or ScusAi

lifted oil

scar or distress the surface of the

page, either /ust before painting or
while the area is still wet This will
cause dark markings

sponge

Soft patterns of light

area:

each grain When the paint

brush

is

dry

off the salt-the crystalline

left

are that of

page

with a

snow

or rain.

paint can

damp

be

brush or
shapes

are the result Thick pigment can

be

applied to the brush or sponge and

stamped on

the

paper

also.

SURFACE VARIATION

107

Painting Problem:
Displaying Textures

Having completed the exeryou've probably found

cises,
that

it

wasn't too

new ways

difficult to in-

applying
paint to paper. The range of
different effects that can be
discovered is unlimited.
Now it's time for the most dif-

vent

of

challenge: using some of

these new methods in a wellorganized painting. When an
artist IS first presented with the
ficult

color,

of everything

bit

variations

Textural

exciting, but throwing

can be
little

water-

he sometimes goes a

overboard.
a

of

possibilities

textural

in

never leads

a satisfying result. So the first

concern is to limit the variety of

to

surfaces saving
plain spaces, building
delicately patterned

contrasting

some
some

warm-cool,

dark-light,

textured-plain.

Trust

instincts as you quickly

develop the whole painting sur-

sign

face.

At

first

major goal
your

You'll

will

look

like.

be expenmenting rapidly

with the scaled

teresting

display of

in-

surfaces.
ahead of time

textural

Don't worry
about specific subject matter.
big, midInstead, think scale
dle, and small. Think balance

108

WATERCOLOR WORKSHOP

is

the abstract rela-

you establish with

tionships

applications

inventive

balance,

scale,

textures,

of

dis-

calm areas, slightly

and emphatically

tribution of

active areas,

patterned ones. Set these ac-

complishments
mind. Turning

firmly
this

in

your

underpaint-

ing into identifiable subject matter

becomes

might think
ganization

painting

finished painting

disth-

without restrictions. Again, the

dramatic activity you can force

into a single composition.
able to

at lib-

and

bute the surface variations

play

problem you won't be

predetermine what the

you should be

erty to freely invent

areas and some strongly patterned ones. This is more important than seeing how much

In this

and

your de-

simpler than you

the abstract or-

if

is

a satisfying dis-

in itself.

Enough
aration.

of this

Let's

fun!

mental prep-

get on with the

Stretch

another

paper
equipment

half-sheet of watercolor

and get your

full

Gather implements for

textures (more than
you'll possibly need) so they'll
be handy when and if you get
the urge to use them. Read
through all the steps in the examples shown, and thus prepare yourself to work without
ready.

creating

hesitation.

step

Paint a simple underpainting to support the textural experiments to

1.

random wetting of most of the page to provide some

Then use your big brush (at least a 1 " flat) to build a
static foundation of shapes no deeper than middle range- Color should convey a
feeling, a mood, rather than the actual facts of nature. Forget about blue skies
and green trees Paint the warmth of summer, the cool of an evening light. Let
color play a symbolic and abstract role, just as the textures will when they
eventually suggest things.
follow
soft

You can

and

start with

crisp distribution.

SURFACE VARIATION

109

"^

r
%

Step
in-

2.

Now try your textures.

controls in this freewheeling phase, however.

balance,

be

Don't wait for the underpalnting to dry-jump right

Be daring-explosive-emotional-inventive. There

and

and

the distribution of

some

important goals

attention to scale,

plain areas. The textural applications

can range from

WATERCOLOR WORKSHOP

can

tiny to

and they can be dry and crisp or diffused. Get these design and
mind before you start.

organizational devices well in

110

some

are

Pay

delicate in color or strongly contrasting. Their size

large,

Vi^'fi-'"'

step
in

3.

When you

start to paint subject matter,

mind. One. obviously,

is

you should keep some new goals

and another is to simplify

page is terribly active. Now you should picl<
and make them effective by painting out some of

to start identifying things,

the composition. The experimental

and save a few

of the textures,

Suggest the first impressions of what your subject

might be in an incomplete, ghostly manner. Sponge out other areas if it
improves the balance and distribution of the restful areas of the composition.
the surrounding activity.

SURFACE VARIATION

1 1

step

4.

As

the painting continues, refine the lost-and-lound quality. The subject

matter has been gradually developed

until it has a substantial sense of structure.

Areas that seem too busy are either painted over or lifted out. A few selected
areas of really beautiful texture are saved and enhanced with surroundings of
glowing darks and simplicity. Final details and richest colors notes finish the

painting.

112

WATERCOLOR WORKSHOP

nil

New Mexico

Church. D' Arches paper. 73V2" x

20". I'm

using a subject that I now know quite well (see Chapter 7).
This painting points out again that doing a subject once
does not exhaust its possibilities. There are many good
reasons to return to a theme. Notice that the structure of the

church does not

strictly

fit

underlying patterns freely

the underpainting.

and

still

structure.

114

WATERCOLOR WORKSHOP

It

can jog the

record as a substantial

9.

Abstract
Underpainting

begin a watercolor

could

painting with a detailed draw-

and when Im just getting

often do
know a subject,

ing,
to

begin

this

approach

way.
in

an

It's

the usual

artist's

early

But with more experience, the artist organizes his

career.

subject

matter,

and

in

effect,

abstracts from nature to create

a composition of good design.
I

find

it

equally valid to begin

a watercolor with a nonobjective statement of shape, space,

and textural order
color,

picture

almost disregarding an eventual

display of subject matter.

Only after the abstract underpainting is organized to my

bring the subsatisfaction do
I

ject into focus. This

proach

want

to

is

the ap-

demonstrate

in

this chapter.

technical exercises
search for a nonobjective composition, then recreate
in an underpainting. In the
painting problem, we'll add
subject matter to a nonobjecIn

well

the

first

it

tive

composition.

magazine and an adjustable mat are used

to

discover a variety of

nonobjective composition plans.

ABSTRACT UNDERPAINTING

1 1

Exercise:

Finding an Abstract Design

exercise will deliberately
avoid reference to subject and
instead look tor satisfying abstract compositions.
picture
You'll
need
a

This

nnagazine or two that you're willing to cut up and discard.

You'll also

need

to cut

two small

made

from stiff paper or

file cards (approximately 4" x
6"). These mats will be used as
a viewer to search out small
"L's"

portions

of

photographs

that

display pleasing compositions.

You won't be looking for identifiable things. The search is for

nonobjective arrangements in

space

that are

satisfying

and

interesting.

A unique pattern, an arrangement of scaled shapes

with unusual character and
balanced light and dark elements can be discovered in
this manner. The little compositions should be cut out and
pasted on file cards to serve as
plans

for

abstract under-

later

paintings.

you feel unsure

your selection of compositions. Cut out several possibilities and paste them down.
After you've collected about a
dozen, you'll see that you have
discovered a few you like better
than others. That's the start you
need.
Don't worry

if

of

A Search for the Abstract. Move the finders around on a

photograph until you see a dramatic composition you like.
Cut it out and paste it down on a 4 x 6" file card. You aren

't

looking for subject matter. Scale, balance, containment,

and

interesting textural variety are the goals to

keep

in

mind

as you choose these nonobjective compositional plans.

Prepare several of these studies for use in the next
exercise.

116

WATERCOLOR WORKSHOP

ABSTRACT UNDERPAINTING

1 1

Exercise:

The Abstract Underpainting

An underpainting

an

that

just

is

organized layer beneath

the subject.

It

gives the finished

and color
The underlayer

painting both design

organization.

shouldn't connpete with the sub-

so there are some limitaobserve. It would be

wise to use a wet-into-wet

ject,

tions to

and
shapes
will be reserved for the second
half of the painting process
technique, and keep

it

soft

diffused. Crisp, in-focus

when

the subject

is

developed.

Limit your underpainting to light

and middle values. Save your

middle-darks

have

when you
up an

later

force the subject. Set

color

arbitrary

warm

Play

darks so you

to

punch available

their

mood.

against cool, letting

one be dominant. Scale, balance, containment, and textural

variation can be freely interpreted within the above limitations.

Above

remember what

all,

painting: K.I.S.S.

Stupid!

ple,

portant to
ing simple
ity is
is

to

It's

It

especially im-

keep this underpaintbecause more activ-

come when

the subject
step

introduced.

need two

You'll

stretched

half-sheets

watercolor paper
cise,

full

or
of

for this

palette,

18

three

good
exer-

and com-

plete working equipment.

begin a
Keep Sim-

myself before

tell

WATERCOLOR WORKSHOP

1.

Pick one of your favorite "discovered design plans" for a guide. Decide

and

w/hlcti

side you prefer "up"

In ttie

big stiape distributions

It

tfien.

on your stretched watercolor paper, pencil

displays.

step

and

2.

Now

paint the space, shape,

textural relationships of your small

plan Start on a dampened page with

a middle-light value The whole
underpainting should be completed

in

hues no darker than middle value.

Concentrate on saving the lights and
striking in the large

Keep

values.

areas ot delicate

the underpainting

soft.

Work quickly so you can gel the

composition plan
too firm
color in

an

mood

step

before the

dries

identifying

I W'

down

and the shapes become

edged and important. Use

page

arbitrary rather than

manner

to

produce the

of your choosing.

3.

Use your middle values to

basic underpainting. and

finish the

add

little

Do

final color

excitement

now

phase just before the

page starts to dry and your
underpainting will have the design
organization you like -one subdued
enough (limited value contrast and
soft-edged shapes) to be later
overpowered with ncher colors,
stronger darks, and hard-edged
also

this

forms.

ABSTRACT UNDERPAINTING

Painting Problems:

From Abstract
Each time

to Nature

do a watercolor

starts with a well-organized

stract

underpainting,

I'm

that

absur-

prised at how successfully

these nonobjective patterns
seem to work with the superimposed subject. Not only do the
arbitrary

shapes seem to coorbut even more

dinate well,

importantly, the patterns under-

neath provide a unity of design

that

makes

the whole painting

easier to bring to a successful

conclusion.

When
painting,

you've finished the first

stretch another half-

sheet and develop a new underpainting design. This time

try an abstract underpainting
plan of your own design (with-

a clipping). An incombination of soft

and crisp shapes can be developed by a random partial
wetting of the paper just before
out

using

teresting

painting.

Again,

subject

influence

don't

let

the

you

too
strongly at this early stage.
Most important is the goal of
establishing a shape, value,
and color statement that is a
pleasing organization in itself.
Value control, softness, balance, color mood, and containment are the objectives. Be
alert to what develops on the

page, and mold a composition

you like for itself. As the
underpainting begins to work,
move right into the subject, defining
with your darker values
and firmer shapes.
that

it

120

WATERCOLOR WORKSHOP

Develop a new set of discovered composition plans with your mat finder.
ttiat you like for this painting problem. Don't be overly concerned with
thoughts of future sub/ect matter at this stage. It's more important to search for a
scaled display of shapes that creates a unique balance and distnbution of
activity throughout the painting -an arrangement that is interesting in itself.

step

1.

Pick one

*l #

step

2.

using a

Now do
full

another half-sheet study on

palette of colors.

good watercolor paper,

Decide on the general color

stretched,

mood you

wish to
paint the ma/or

develop Wet your page, and with your biggest brush, start to
of the underpainting as indicated by your small plan. My painting will
develop a warm, sunny feeling. My first delicate washes will be in a range of
cool blues to provide relief and contrast to the dominant warmth that will come
later. Work quickly to keep these first washes soft and diffused. Without going
deeper than middle value, complete the design of your underpainting.

shapes

ABSTRACT UNDERPAINTING

121

--^.iliMII.II^

.^^-.^,JM
Step

3.

It

is

time to decide on your subject. You

material that you

One of ttte
might be good for a

know

well.

will find it's

character silhouette

easiest to use
"

studies you did

start. The underpainting has been

(Chapter 3)
allowed to dry. Mix up a middle-dark value of your theme color (I'm using a
burnt sienna) and start the first simplified structure of your subject. Explore
linkage from one area to another, and distribute patterns with concern for your

earlier

'

total

composition.

122

WATERCOLOR WORKSHOP

step

4.

Local color variations can

now be

struck into the middle-value pattern

and smaller dark shapes, continue to

deschbe your subject. See if you can't finish the painting with a minimum of
refinement and detail. Let this be an understated translation of your subject into
symbolic patterns Now sit back and take a good look at the nearly finished
work See if there are any disturbing sky holes-spots where the underpainting
shows through openings in your structural darks. These can be adjusted by
painting them with a slight change of color so they are no longer obvious A
second thing to adjust is the edge quality of the bold shapes. Soften an edge of
a totally crisp shape now and again so a transition is provided into the softer

just established. With richer colors

underpainting

ABSTRACT UNDERPAINTING

123

One Underpainting-Different

Subjects.

I'm including additional

examples to
illustrate further just how independent
the underpainting can be.

Completed Underpainting. DArches paper. 13-2 x 20\

Using the small
composition plan as a guide. I painted lour hall-sheet
underpainlings. as nearly
alike as possible. The shapes were
painted on a dampened page so they could
be kept soft, and the darks limited to no deeper than
middle value M/ color
scheme is predominately warm -a range of yellows through
ochres and earth
tones with a smaller portion of complementary
blues and violets One of the

finished paintings that resulted

124

WATERCOLOR WORKSHOP

is

shown on

the opposite

page

<>j4!?'ni-;

Dead End Wharf. D Arches

paper. 13V2" x 20". Whatever your choice of subject,

overpamting phase is to design a well-scaled arrar^gement of
simple shapes in middle and middle-dark values. Pay attention to the total
composition, and stay away from finishing things too soon. Let the details wait.
Keep the bigger brushes at work, and you will have better results.
the goal ol the

first

ABSTRACT UNDERPAINTING

125

Wharf Space //. D' Arches paper. 13V2" x 20". A good

example of using overlapping shapes and aerial
perspective to create spatial sensations.

126

WATERCOLOR WORKSHOP

10.

Space
Concepts

painter is limited to a flat surface on which to create an illusion of a third dimension

depth

in space. Traditional
perspective relies on lines that
appear to taper or converge in
a diminishing manner to a van-

honzon
method taught

ishing point on a distant

line.
in

This

is

the

basic drawing classes; you'll

the classic cubes,

remember

cylinders,

and spheres you

were asked

to

draw

in

perspec-

tive.

The serious artist needs to

understand the principles of
linear perspective and how to
put them to use in his work.

However, there are other

methods of building strong spatial sensations that many competent painters seem to be unaware of. In this chapter, some
powerful tools for creating a
three-dimensional feeling will

be presented. A diagrammatic
line and wash study will help

you explore the theory behind

the use of these perspective
tools. The painting problem will
apply the various concepts almost arbitrarily in a large
watercolor a creative work
that makes decisive spatial
impressions.
Most
artists
today aren't concerned with the
infinite horizon (with the excep-

tion,

possibly, of those painting

a surrealistic style that benefits from the illusion of limitless

in

space). The comtemporary artist often "tips up" the horizontal

so

surface of his composition

seems nearer to the pic-

it

develops a feeldepth with many

overlapping shapes. There are

ture plane. This

ing of limited

multiple spatial sensations that

appear

to

happen close

to the

page. Several
concepts of perspective can be
surface of the

used
sense

to

of

project

this

arbitrary

space.

SPACE CONCEPTS

127

Overlapping Shapes. This

statement of one object
another. The eye level

is

is

a clear

in front

of

close to the

one of objects on
a tabletop. and no shape has a
common border with its neighbor
Shapes are placed so there is either
adequate space between objects or
an obvious overlap.
ground. The effect

is

Aerial Perspective. Here the shapes

stepped
up the ground plane, not crowded on
the horizon line. The effect is one of
looking down on the scene. The

overlap, but the objects are

Cast Shadow. A

light

source can be a

multiple light sources.

can be

Shadow moves

along the ground plane and possibly

up a neighboring vertical plane It
establishes form and distance

between objects With a multiple light

source, shadows can be pushed in
various directions to balance the
design and distribute the effect of
spatial sensations.

128

WATERCOLOR WORKSHOP

behind objects with a softened halo

patterns are distributed effectively

a cool dark, the light objects are

throughout the picture and make a

clear statement of spaciousness

pulled forward,

tr
logical, single light, or there

Push Back. Sometimes referred to as

push-pull, this is based on the idea
that dark recedes and light comes
forward. By pushing back the space

and

feelings of

of

space

are enhanced.

"*

Diminished Repeat. Objects in space

appear to grow smaller in the
distance By repeating an object in
several diminishing sizes, the

artist

creates a sensation of distance.

Linear Perspective. Tve left linear

perspective until last, not because I
think It unimportant, but because it is
probably already understood. Also, my

emphasis

is

on the other 3-D

tools.

Exercise: Line and

Wash

Spatial Study

can be
no one
way to paint a watercolor. The
concepts presented wont provide guaranteed success in
your next few paintings, but
If

there

sure

is

one

fact tfiat

of, it's that

there

is

hopefully they'll open new

of involvement with your
work and offer a source of inareas

spiration that

new

will

lead you into

creative experiences.

For this

technical

exercise,

24" work
paper, a few dark colors, and a
Number 8 brush. Mark off several 9" X 12" areas on your

you'll

need 18"

paper, and follow the steps

the

accompanying

in

illustrations.

i^y

^*

1. Draw several 9" x 12" picture areas or) inexpensive drawing paper. Use
Number 8 brush to draw a subject of your choice. Pick something that will
allow you to display many simplified overlapping shapes Dent worry about

step
your

doing an accurate finished drawing Think of the objects as stand-up cardboard

cutouts, and distribute them so they develop spatial sensations throughout the
total picture area. An aerial perspective view will help in this regard

SPACE CONCEPTS

129

/;

\.
I

t..
in another painting space. To emphasize
between shapes, push back the area of space behind
each spot where an overlap occurs. Use a middle value of blue to trim around
sections of the forward shapes. Then fade the blue area with a brushstroke of
clear water, and it will become just a "halo" of spaciousness. Notice that the
white shapes are now pulled forward. This is what is meant by "push-pull. " Use
a darker blue to invent shadow shapes that can augment the feeling of space
between objects. The way the shadows fall can describe the surfaces between
areas of sub/ect matter. Let the shadows move in almost any direction. It is more
important to balance the spatial sensations than to have a single light source at

step

2.

Duplicate your brush drawing

the feeling of distance

this time.

130

WATERCOLOR WORKSHOP

%jl
i

3. Continue with inventive additions of subject matter that use the

diminished repeat to further enhance the feeling of distance Use people, boats,

step

or trees in various sizes. Start introducing color to identify different parts of this
study. Experiment with color perspective.

Use some

rich

warms

in

the

foreground parts: then mix cooler versions and find uses for them deeper in the
painting. Pure, intense color will record as something close: gray or neutralize
color slightly and you'll see that it recedes.

SPACE CONCEPTS

131

Painting Problem:
It's

time to

put

some

Statement of Space
spatial

work in a full watercolor

painting.
suggest you try a full
stieet. If you use 300 pound
paper, no stretching is necessary. Thinner weight paper will
you
work more effectively

tools to

if

stretch

it

painting
larger

ahead of time. My
done on an even
is

size

d'Arches

"double

elephant," 26" x 40".

Choose a subject
painted

that you've

before or a

made-up

composition you can do from

memory. Sometimes

this

latter

tion

of

works best. Plan a build-up

that allows you to

shapes

Start while

wet

for

that

goal of this painting problem.

can be very pleasing. As the

page dries, some spots of
push-pull can be reinforced
with touches of firmer edges.
Color
perspective,
diminished repeats, and cast

your painting in the

normal "big brush" manner.
Search for an abstract display
of scaled, simple shapes, and
concentrate on spatial sensations as you develop this abstract underpainting. If you can,
make the dimensional feelings
"pulsate" the page in these
early stages:
should be easy
to bring the subject into focus
Start

it

later.

broken up
with a variety of overlapping
shapes, try your push-back
method to increase the ap-

WATERCOLOR WORKSHOP

is

softness

and insert
things as needed and aren't restricted by too concrete an
image. A fully-packed composi-

132

of depth.

page

explore spatial effects, the true

suggestion works best; you're

free to invent, select,

pearance
the

After the

page

is

halo

effect

shadows are the other tools to

explore. These tools aren't formulas that must be used consistently
ing.

throughout the paint-

Trust

your

instincts

and

paint with your feelings as you

see the page develop. After

it's
just another painting
painting that offers the
to

all,

chance

experiment with a seasoning

of spatial sensations.

detail of Tie

and Dye People.

and Dye People. D'Arches paper. 26" x 40'. This painting uses the 3-D tools
earlier It was painted immediately after my return from a workshop in
Sausalito. California
had done several paintings on location and had a good
number of drawings in my sketchbook This painting is not a particular place: it's
a memory study of the general character of Sausalito One challenge set for
myself when started this work was to develop a strong spatial statement, not to
Tie

discussed

record the images of a particular location For

to

build

material

my own
if

sub/ect" from any of

my past

this

reason.

felt

completely free

experiences and

to invent

new

needed.

SPACE CONCEPTS

133

A New Composition.

Select one of your paintings to be used as a source for a

discovered composition plan. Prepare a variable-sized finder by cutting an old
mat Into two L's. Tfie three-value study you will be doing in this chapter requires
just one tube of darl< paint, your large brushes, and inexpensive work paper.

134

WATERCOLOR WORKSHOP

11.

Painting
Within a
Painting

believe

going out

in

to paint

nature it's my favorite

way to discover new things to

from

when painting on lotempted by the

wealth of material a new subject offers. No matter where
But

paint

I'm

cation,

an overabundance

look, there's

design, color, and

of exciting

More

form.

temptation

often than not, the

is

say too

to

too great, and

much

try

a single

in

simplification

tive control

needed

finished watercolor

achieve

in

the

and selecin
is

a good,

easiest to

studio.

There,

packed, on-location
picture can be reworked. The

the

fully

basic composition can

be recreated in a more dramatic and simplified version, or the
original painting can serve as a

source

completely

for

new

pre-

sentations.

How to find new, exciting

compositions in a previouslypainted work and how to use
them as inspiration for fresh,
paintings

creative

goals

in

this

will

chapter.

be the
In

the

technical exercise the stress

painting.

The

same

on how

to find

is

new composi-

tion within the old

one. For the

problem, you'll make

use of your own discovered
composition.
painting

PAINTING WITHIN A PAINTING

135

Exercise:

A New

Composition

Gather together some of your

paintings, finished or unfinished, that can be used as
source material for three value
composition plans. You'll also
need an old painting-sized mat

that

(into two
as a var-

can be cut apart

'Ls") to be used

viewer. The exerbe done on 18" x 24"

work paper with a single dark
iable-sized
cise

will

color.

^4|'^

'^^

that offer
1. Move your finder on the painting surface and search for areas
uncommon spatial balancings and sensations of scale. Try vertical formats as
well as horizontal and both large and small dimensions. When you find a

step

composition that you enjoy. fasten the mat with push pins or masking tape Mark
out a rectangle on your work paper. 10" x 14 or larger. If necessary, pencil in
the major space divisions of your composition. Then, with a light value, paint
over the whole page except for the near white areas. When this is dry, use a
middle- value wash and paint in the bulk of the plan. Finally, paint in the dark
patterns as suggested by your plan.

step 2. Readjust the finders on your painting until you discover another new
composition Outline another workspace on inexpensive paper and paint this
discovered composition in three values. Search for more compositions. In each
trial your goals should be to discover interesting distributions of light and dark, a
bold sense of scale, and different shape presentations. This is not the time to
trim or slightly crop your original-in effect barely refining your first work. This is
the time to create new, exciting paintings. Why paint another so-what
watercolor?

PAINTING WITHIN A PAINTING

137

Painting Problem:

New

Paintings from Old

be selecting a portion

You'll

of

a previous painting as a design

source for a new work, but the

problem
more than
of

be something

will

rendering a part
painting, the term

just

another

"new painting"

is

the real key;

be strengthened. The new

probably

will

painting should emit a feeling

scription

and

completeness.
The color of your new work
can take its character from your

however,
is to
keep the underpainting
and middle value stage of the

will

of

original,
likely

but

need

it

too,

most
you like

will

adjusting.

If

mood in your original

recommend you

some adjustments will have to

be made to complete this paint-

the color

ing successfully.

copy that as a starting point. As

soon as the page is covered

Containment is one aspect

that needs to be considered.
Because the composition
began as a part of something
probably has some
larger,
it

patterns

and

colors

that

are

powerful at the edges. By

weakening value contrasts and
color intensity near the borders
of

and by letting
edge shapes sof-

page,

the

some

of the

ten with a wet-into-wet techni-

que, the feeling

138

of

containment

WATERCOLOR WORKSHOP

painting,

your first major washes

(which start to establish the
would be
think
color mood),
wise to turn your original painting to the wall. Now watch only
what is going on in the new
painting. Develop a distinctive
color quality and balance in this
new work. Feel free to place
related color accents effectively
with

it

further de-

detail.

A more

important challenge,

development simple. You may

that the painting you do

find

from your discovered plan will

turn out to be as complicated
and fully-packed as your original.

Remember:

keep
a

it

K.I.S.S. Try to

simple.

And as a last reminder; this is

new and separate painting.

The original only furnished a

composition plan and color
suggestion and should have no
further
painting

ate with

ing

areas may seem too

open and uninteresting, so

into

Once

influence.
is
it.

the

underway, cooperTrust your emotions,

your instincts, and

within the painting.

Some

need

let

the evolv-

shapes and colors lead you

an exciting creation.

step 1 (Left). If you don't want to use

one of your plans from the previous
exercise, start from the beginning with
another painting and select a portion
of it tor your new composition Convert
it

into

Here are several ideas for new paintings that were isolated from my
wharf scene Though all three composition plans were found within the
same painting, notice how different each is in its scale and balance and overall
gesture. Each one could inspire another painting. I have used the first of the
three as a guide for this painting problem.
Step

2.

original

a small, painted, three-value

use as a guide for this painting

problem. I'm using Wharf Scene, ISW
plan

to

X 20",

for this demonstration.

PAINTING WITHIN A PAINTING

139

step

be a half-sheet
good watercolor paper,
and will require your full

3. This will

painting on
stretched,

palette of colors.

Prop up your painted

composition plan and your original

painting (with the mat in place) where
they can

be seen

easily.

Pencil

in

the

major space divisions of your chosen

plan, and get your color controls in

page and start

and big shapes
surround and capture the light

mind. Wet your

painting the colors

that

patterns you want to retain

Concentrate on the overall design of

your composition and establish a color
mood that determines the character of
the painting.

Step 4. Before the page dries, strike in

the major middle-value patterns as
suggested by your value-plan guide.
Once these are established, it would
be wise to turn your reference material
to the wall. Now its important to work

up a finished painting with merits of its

own. There are no rules or restrictions
from here to the finish. I suggest that
you try to keep away from too much
detail too soon. Use any technique
that seems suitable. If you notice
interesting textural variations, spatial
qualities, or exciting color feelings

developing, by

all

means make use

them.

140

WATERCOLOR WORKSHOP

of

Wharf Scene

II.

D Arches

paper.

ISWx

20".

PAINTING WITHIN A PAINTING

141

:>

Beach

Figures. Drawing paper,

18' X 24".

The inexpensive
drawing paper used for this
study makes it easy to be
casual. The paper isn't precious,
I

neither are the drawings.

142

WATERCOLOR WORKSHOP

12.

Figures
in Painting

Introducing the
into

human element

your work can add emo-

tional

interest,

and

character,

an otherwise bland
painting. A landscape painting
doesn't need figures in order to
scale to

make

it

finished state-

vital,

ment.

However.

trying

to

often enjoy
capture man's relationship to nature
his blending
into his surroundings or even
I

his

awkward

contrast to his en-

vironment.

How

to successfully integrate

figures into your paintings

will

be the major concern

of

the

won't

at-

following

material.

tempt

deal with the use of

to

the single figure as the main

and cerThose aspects of figure painting have

their own specific demands.
subject

in

painting,

tainly not portraiture.

Stylistic

Control

The most common

pitfall

using

watercoior

figures

painting occurs
in

unsure

in

when

of himself:

when

the

artist

he tends

to

he can translate nature

clouds,

fields,

(trees,

water) into ex-

pressive shorthand statements.

He creates a suggestion

of obinstead of rendering
things in complete detail. When
he inserts figurative interest,
however, he begins to illustrate
in a different manner. The resulting figures look like an afterthought (which they are) and
loom off the page with an unfortunate degree of importance.
Figures in paintings have
psychological attraction. An

jects

and

bold

equally

colorful

in-

animate object will be definitely

subordinate to a spot of human
interest. People in paintings
have the ability to attract and
hold our attention. For this
reason alone it's worth exploring ways to blend figures into
the overall design construction
and almost camouflage them
within the other elements of
composition. The technical exercise will suggest ways to

handle figures

and

in

a fresh, sym-

way, The

end
of the painting process and to
paint them in a style foreign to

bolic,

the rest of the subject matter.

interest

The practicing watercolorist

cept that has established the

rest of the painting.

leave the people

until

the

usually arrives at a point

where

painterly

painting problem

methods

of

with

will

relate to

integrating

the

FIGURES

human

design con-

IN

PAINTING

143

Sketchbook Rewards

Once again Id

like

to

em-

phasize the importance of acquiring the sketchbook habit.

The awkwardness
paintings

is

of figures in

often the result of

simply not knowing the subject

well

only

enough. After

all.

you can

what you know.

no way to overstress

paint

There is
the importance
practice

in

of

continued

drawing, sketching,

and painting figures. It's essential

to be completely familiar
with sketching figures

in

order

them with simple freshness and directness. Models

to paint

are

plentiful. If you use your

spare moments to do quick
sketches of the human activity
around you, painting the figure
will be increasingly less fearsome.

144

WATERCOLOR WORKSHOP

Harbour and Lortg

page.

11

"

17'.

Streets, KIrtgston

managed

figure information at the

capital

lo

gather

(Left).

some

Sketchbook
interesting

main intersection of Jamaica's

city.

Shopping Center Sketches (Above). Drawing paper. 18"x

24 These people strolling through a large shopping center

were seen for just a few seconds. Each instant impression
was recorded with the fewest number of brushstrokes: then
another passing model was observed and painted.

FIGURES

IN

PAINTING

145

Exercise:

Brush Sketching
The

who wants

artist

rate the figure

must learn

to

human form

into

to incorpo-

his paintings

in

translate the

shapes, col-

and masses instead of outlines. To do this, there is no

ors,

substitute

brush drawing.

for

The fluid property of pigment

and water lends itself to a painterly result
one that will blend

into

a watercolor as an

intrinsic

part of the whole.

physical

the

Unfortunately,

situation of sketching

often limits

the

in

artist to

public

pens

or

pencil for quick line studies.

It

be necessary for our purpose that you find a location

where you can observe groups
of people and still set up your

will

equipment

small

(a

three or four colors, a

palette,

Number

8 brush, and a water container)

and work directly with your

1. To Stan, mix up a middle-light value of a warm flesh tone. This can be

almost any mixture of yellows, oranges, and reds. I'm using yellow ochre and

step

bright red (vermilion) to establish the massive structure of the whole figure

group. The subjects are painted without outlines. Try to capture the overall
the subject-to suggest mass and weight. Work directly with the one
simple color and search out unified figure silhouettes.

shape of

painting tools. A comfortable

working situation might be in
your home using family members as models, or you might
try looking out a window. A
beach or a park also offers a

good

variety

important

of

subjects.

learn

to

to

to

It's

look

understand what
and then
doing
work quickly in an attempt to
capture the essential shape of
intently

the figure

is

your figure or figure groups.

This exercise can be done
either

on sketchbook pages or

the larger 18" x 24" work paper.

isn't a demanding part of
problem, but if you have a
palette you can experiment

Color
this
full

with

different

pigments

that

combinations of
suggest a variety

of flesh qualities.

Paint figures

and
brushes

anything

Number

6 to your

of varying sizes

pointed
from your

Number

146

try

out your

12.

WATERCOLOR WORKSHOP

to push back different segments of the

shapes can be introduced to start the suggestion
of other parts of your composition. Stay away from outlines as you introduce
clothes, cast shadows, and other pieces of your study. The middle-value

Step

2.

figure

Darker flesh tones can be used

variety of local color

structure should develop without insignificant details.

adjoining pieces touch

isolated compartments.

and run together than

to

It

is

actually better

if

have a design with too many

study should not be overworked The goal is to put down some

symbolic way-one that could eventually work
well with other freely painted parts of a finished painting. Use your middle-darks
and darks to finish this study. Before the shadowed parts of your figures dry
completely, touch in a little cool blue to make them recede. Mingle a hint of

step

3. This

figurative interest in a painterly,

warmth

(reflected light) into your cool cast

small color accents

and

rich dark

shapes

shadows. Add a limited amount of

describe your subject.

to further

FIGURES

IN

PAINTING

147

Painting Problem:
StEirting with the Abstract
chapters have explored

Earlier

the abstract underpainting ap-

proach

to starting

a painting.

It

allows a free and easy adjustment of scale, color balance,

and design unity. Nonobjective

elements of the composition
are well conceived before the

subject is introduced. The

same approach can be prac-

when

ticed

volved.

The

the

figure

is

in-

should be

figure

thought of as a shape or a
color, a piece of the whole
rather than a separate specific
element unlike the rest of the
painting.

One firm suggestion that will

prevent the figures in your
painting from being obvious afterthoughts is a simple one:
don't wait until the

process

painting

end

to

of the

early

the

in

indicate
terest

is

painting

of

control of scale (emphatic large, middle-sized,

the

first

goals. Immediately introduce a smaller,

that are light to

to reds).

The

and balance are

dispersed amount of cool colors.

and small

units)

These should not be too dark and could repeat the casual blockish theme.

de-

start

veloping the figures. Touch

simple shape or two

step 1. Paint an arbitrary arrangement of overlapping rectangles

middle values and are primarily a range of v/arm tones (yellows

in

color

that

will

where the human into be developed In the

middle stages, carry the figures

to a half-finished state. When
the rest of the work is in a final
stage of adjustment, the figures
won't be a struggle and will
seem to almost complete themselves.

Discovering figures within a

nonobjective display of shapes

and colors
played in
Your aim
ing

be the game

will

this painting
is

figures

problem.

to practice designthat

will

integrate

design conpainting. Full

well with the basic

cept

of the
equipment, full palette, and the
large sheets of work paper will
again be needed.

Step

2.

Use middle value and darker colors

to start

breaking into the

Develop some body

shapes (or cutting around to make them exist).
Support some of these masses with a variety of tapering leg shapes, and design
further interest with head gestures and arm movements. Don't finish things.
Distribute the hit and miss structural indications about the composition.

underpainting with shapes that give a

masses by

148

WATERCOLOR WORKSHOP

painting in their

first

hint of figures.

like In finishing this figure group Add

shadows, bags, signs, balloons, etc.. to distribute decoration
and descnption around the composition. Use color to spark up the display and
further control the balance of the overall arrangement. Don't be concerned with
what to paint as you finish this exercise: it's more Important to know what not to

step

3.

You can be as inventive as you

clothes, umbrellas,

paint Let this study stay purposefully unfinished in

figures retain
transition

some

some

of the lost-and-found quality that

will

between sub/ectjve description and abstract

of

its

parts Let the

provide a needed

organization.

FIGURES

IN

PAINTING

149

A
^%.

t
i
i

i
150

WATERCOLOR WORKSHOP

^^^^^

.-W-

Nude 4

(Left)

Bristol paper. 75" x 75"

Warm Slumber

(Below)- D' Arches paper. 26" x 40".

Sleeping Model (Far Left). D' Arches paper. 22 x 30".
MIml (Below Left) D Arches paper. 22 x 30".
"

These paintings are examples of using the

main subject in a composition.

figure as the

usually

do these paintings

finished charcoal drawings

>^
f

the model.
direct

in

my

done

studio from
directly from

also often use charcoal to

do a

drawing on the watercolor paper before

painting.

^>-^

4&4T. -<-%

.^

.A

Jt

Deep Creek.

D' Arches paper, 22" x

30

result of years of gathering information

This painting

is

by painting and

stretching in my home environment. The boldly distilled

statement happened only after I had painted and repainted

same theme: by then I had developed my own ways of

working that allowed me to translate nature into
authoritative watercolor symbols.
this

152

WATERCOLOR WORKSHOP

13.

Theme and
Variations

even remember when

can't

started painting

in

the California

mountains, but I've lived beside

a mountain lake for the past 16
years in a home originally built
as a vacation cabin. The trees,
I

and cabin are subjects that have appeared in literally hundreds of my paintcliffs,

lake,

ings.

Rather than getting tired

of

my

surroundings,

continu-

more things around me

to paint.
seems that the better
know a subject the more intriguing
becomes. Other favoally find

It

it

rite subjects of mine are the

seashore, wharves, or an old

barn.

find

it

stimulating to re-

the

within

last

The choice

is

show that the

can still be

to

creatively

several

deliberate

that

years.

want

familiar subject

approached
there are end-

less
reasons for painting
another watercolor.
At times an artist shares his
experience in a teaching situation by presenting his goals
and his methods of reaching
them. This is practical and
valid, but watercolor painting

be boiled down to a
learned by doing.
My advice is to digest any and
all
suggestions that make
sense and then rely on your

can't really

formula.

It's

background,

turn to these old friends again

training,

and again. There is always

something new to say about
them in a painting.

and emotions. Believe in yourself and paint to your own satisfaction. Let me wind up this
chapter with the one rule subscribe to: where creative painting is concerned, there are no

familiar

often

subject

fresh

in

called a

painted

ways could be

theme and

variations.

theme is
and trees. From sketchbook and worksheet pages to
show the
finished paintings,
In

this

chapter,

the

rules!

The following

cliffs

I'll

steps

in

my

thinking while

de-

velop different presentations of

one

subject.

Although
this

subject

my

first

is

long

contact with
in

the past,

continued to gather information through drawings and

paintings and by observing
I've

the changing seasons and

moods nearby, fvlost of the
work included here was done

instincts,

actual

studies

illustrations

are

and paintings.
done as lesson

They were not

plans with a specific, predetermined goal They are just
work done
creative paintings

with a free, searching attitude.

In

the captions that

accompany

paintings I'll attempt to

point out my personal applica-

the

watercolor tools and

techniques that have been examined step-by-step throughout the book.
tion of the

THEME AND VARIATIONS

153

Sa^
Sketchbook "Thumbnails". Dispersed throughout my sketchbooks are many
sketches such as these. Once know my subiect, the question Is not what to
paint" but how can best present the material?" The small composition plan
can help you think out the possible relationships between scale, balance, and
I

containment.

154

WATERCOLOR WORKSHOP

Basic Composition Plans. Another means of arriving at a dramatic presentation

of any given subject is the simplified value study. Doing many of these brush
studies forces me into inventing unusual compositions. It's only so much work to
go on and paint the final painting: why not start with an exciting plan?

Value Studies. These

slightly larger ttiumbnails

explore the possibilities of

An anything

various textural qualities as well as dramatic compositional ideas

goes

attitude

stimulates a

is

important for these experiments

new

painting, the time

is

II

one special plan out

of ten

well spent

THEME AND VARIATIONS

155

Full Painting Explorations. D' Arches

paper, 22 X 30 and 13' 2" x 20". Its

difficult to enlarge small sketcties into
free

and

vital

large paintings wittiout

considerable practice. After I develop

a plan for guidance. I need to do a
series of large paintings in order to

approach the final work with the same

freedom and directness that made the
smaller preliminary studies effective.

Three of the full-sheet studies shown

here immediately preceded painting

Deep Creek. Vou can see that the

stream doesn't exist in these
compositions: it was discovered" in
the later painting. To plan a work is
important, but

it's

also important to

cooperate with what happens on the

page and to let creative involvement
lead you into developing a new
statement. The moonlit scene is a
half-sheet painting
of

deep values

156

and uses a majority

for its

dramatic staging

WATERCOLOR WORKSHOP

THEME AND VARIATIONS

157

Return

Winter (Top

in

Left).

D' Arches

Dunn 's

A Walk

River Falls (Bottom Left).

paper. 22" x 30". The

paper. 26 x 40". This clearly

D Arches

the

brushstroke patterns of the figures

shows
a watercolor can have when

"

it

vitality

concentrates on the symbolic

translation of subject matter into

brushstrokes, textures,

and

clusters of

show that they were painted with

same freedom as the rest of the
subject.

Introduced the

first

patterns instead of reporting every

estimate of the bathers early

The underpainting
provides a passage from one object to
another. Some scaled lights were
saved. Other means of regaining the
lights, such as squeegee strokes with
cardboard scraps and with the brush
handle (snow on the trees) were also
used. Textural variations were
achieved by brush spatter, stampings,
and the granular wash.

painting process.

possible

detail.

were added
but

In

Some

the

subject again.

was

refinements

the finishing stages,

tried to retain the

is

same symbolic
displayed

in

newly
fallen snow, and the clouds were
shifting the focus on various parts of

would loom

and

When

forth

and ridges
and then disappear.

returned to the studio

large watercolor in the glaze

did

this

and

character silhouette method. The

scene isnt a rendering of a

place, but

certainly

tried to

character of

WATERCOLOR WORKSHOP

the exact

driving out of our valley In

by and

158

remember

that inspired this painting.

the landscape. Trees

the

direct handling of the trees, rocks,

water.

moment

the

took care not to overwork them.

character that

paper. 26' x 40"". As

change my surroundings
provide new impressions, new moods,
and new reasons to paint a familiar
the seasons

bold
In

Clouds (Bottom

into the

D Arches

Right).

definite

was Influenced

capture the essential

general surroundings.

my

Empty Rendezvous

(Flight).

D'Arches

paper. 26 x 40 The same inventive

scene as Return in Winter is shovi/n
.

here with a difierent mood prevailing.

The more rounded shapes create a
slow dynamic design theme.
Wet-into-wet handling is used more

qualities

and causes the dominant

shapes and textural
Color can also contribute to

a definite

mood

extensively

softness

or feeling. While this

was predominantly warm, the

scene was just the opposite.

painting
winter

in

160

WATERCOLOR WORKSHOP

Robert E. Wood:

Profile
of the Artist
by Mary

Patty.

D Arches

paper. 22 x 30".
"

prefer working directly from the model,

but I'm sometimes forced to take

photographs instead. In this case.

knew the model well and was able

make good use of photographic
reference material

to

did large finished

develop an
awareness of structure problems and
establish an interesting composition.
The more you know about your subject
drawings

ahead
rough

first to

of time, the better Its a bit

to

wonder how a

constructed

in

figure is

the middle of a

wet-into-wet battle.

Carroll

Nelson

ft-ri-n/^y-ii

r^n

A/z^Dl/CUi^D

flobert E.

Wood.

Photograph of the
artist by Maurice Roy

Robert

Wood

E.

is

a water-

colonst, specifically a California

watercolorist.
talent

Given the same

a different spot,

in

the

chances

of his art developing

as it has are nil. His early
teachers
Millard Sheets, M\\ford Zornes, and Phil Dike
are
names associated with the
California school of watercolor.
There is no such place, of
course, as "The California
Watercolor School." It's a term
applied to the line of painters
just

them. Robert

E.

Wood

California as the

still sees
Golden State

and responds to with

sonal yo/e de vivre.
it

There are
California

traits that

his per-

the whole

group of watercolorists have in common. They

delight in the transparency and
the

of

fluidity

began

they

medium. When

painting, a long dis-

in time and space sepathem from the salons of

the East. The watercolorists

tance
rated

that

began back about 1925

painted splashing, free-flowing,

bold suggestions that had the

with

such men as Barse

zing

New

actually a

Miller,

Englander, and

descended through Sheets,

Dike,

Rex Brandt, George

Post,

Dong Kingman, plus many

others, and now includes
Robert E. Wood as a member
of the

third

generation of the

school.

Being a Californian is a whole

in itself. It's a style; it's a
philosophy. Sun. pine-covered
mountains, desert, golden hills,
ocean, snow, boats, color
they surround the artist with
thing

possibilities.

limitless

The

a vacation
paradise yearned for by those
in
harsher climates Some

Californian

Californians
potential.

too

lives

in

don't

realize

the

people,

freeways,

and smog, they no longer see

the glittering world around

Lush washes, sparkling

and powerdesign were applied to

whites, calligraphy,
ful

paintings that reflected the multifaceted

California

geography
and

of sea, desert, ranchland.

mountain. An Oriental restraint

was combined with a western
daring in a manner distinctively
Californian.

The
sisted

California

the

wash and

painters

re-

rendered
landscapes of

precisely
line

Royal Watercolor tradition

the

from

Great

They
and
discovenes. As

Britain

painted, invented, taught,

passed on

their

the years went by, a California

look

Jaded as they are by

many

and glow they saw around

them.

was

created.

an iconography asThere
the sun painted as an orb. a

There

is

sociated with California

IS

circle within circles.

There are

A PROFILE OF THE ARTIST

163

signs, whole or
and hanging draperies
suspended here and there as
dictates.
the
composition
Sonnetimes there are spots and
spatters. The simplest looking

alphabetical
partial,

brushstrokes take on, deftly,

the texture of rocks, sand, or
waves. The whole style is an
exercise in superb control, an
invention in shorthand, with a
new perspective all its own.

Robert
this

Wood grew into

He inherited

E.

tradition.

through his teachers,

locale,

and absorptive talent the whole

dynamic amalgam of impulse
and style that means watercolor
on the West Coast. A Wood
paintmg is infused with his
energy and zest. Beneath the
power of its color, the delight of
its brushwork, and the surprise
in detail, there is a sound abstraction, the intellectual
of

design

which Wood is a master.

The white of the paper is sac-

red

treasure

in

hoarded by the

command
saved

of

white

and

iifted-out white with

in

also

anything

daughter. Stacey, and a son.

atomizers,

brush,

or

Darien.

He

Bob.

ago passed the level of

expert and arrived at the level
Rex Brandt describes as the
long

poetic

or

creative

level

the

Nirvana of artists.
Robert E. Wood (Bob) was
born in Gardena, California, on
February 4, 1926. He was edu-

cated

in

the public schools of

164

WATERCOLOR WORKSHOP

in

and

his school,

1961. The school

is

one

of the largest enterprises in

the

tiny

Lake

is

winter,

village.

it's

instruction

Wood.

Green Valley

a good place

to live. In

ski resort with ski

available from

In

summer,

Bob

it's

feet, it's above the smog

The area provides a wealth
subject matter for Wood's

7.000
of

He graduated from Pomona

College

skiers are the live

in

Claremont, California

in

the University of Minnesota

Bob took

in

Joni on a prot-

Duluth,

achieve an effect,
experimenting to
contrast value and color. Pigment, water, brush, and paper
are amplified by Wood to in-

opened

by

home,

paintings. Rustic cabins are

surrounded by towering pines.
Vacationers, swimmers, and

service led to further schooling.

racted trip to Europe in 1955.

For eleven months he painted

to

gallery, office,

his

line.

briefly

prejudiced.

creatively

now houses

It

origi-

built

as a commercial
artist before he enlisted in the
Air Corps in 1944. Release from

ticed

expertise that

works

a vacation cabin

fisherman's vacation resort. At

After teaching three years at

is deep and unHe uses whatever

The Wood home was

nally

Angeles through high

school. He studied and apprenLos

the

a technical

rather than a fulltime teacher.

presents itself to apply

pigment to paper. Wood absolutely dominates his medium.

that

the

Wood's

whites takes

The Woods came home to

California and moved to Green
Valley Lake. They now have a

1950 and remained as a

graduate student, completing
his Master of Fine Arts degree
in 1952. He and his wife, Joni,
were married in 1950.

a watercolor,
artist.

clude matboard pieces, tissues, blotters, stamping materials (such as cork and leaves),
a piece of screen and a tooth-

steadily on the island of Ischia.

These months of sustained effort convinced Bob that he

wanted to be a fulltime artist

models Wood
omnipresent
Cliffs and rocks
abound along the roads. These
outcroppings have inspired a
captures in
sketchbook.

his

series of paintings.

Less than two hours away

the coast of' California.

lies

whose beaches have been

familiar to Bob Wood since
childhood.

Among

his

best-

known subjects are the wharf

scenes created from his
storehouse of remembered images, fresh sketches, and im-

agination. Vibrant, crowded

paintings of overlapping shanties,

signs, figures, boats,

and

by Wood in
a kaleidoscopic variety of color
and mood. The wharf is the
subject in many of his awardwinning watercolors.
The artist's choice of medium
has much to do with his inner
nature and the private view of
the world he needs to express.
Watercolor, traditionally, is an
pilings are painted

optimistic,

affirmative

chosen by those,

artform

particularly

in

America, who exult in their land

and the beauty they see around
them. Wood has this positiveness in his personality. The visual world is his inspiration. He
repeatedly returns to nature for
information-gathering in the
form of sketches, large brush
drawings, and small watercolor
plans. From these he begins to
create paintings, not renderings of particular places,

but

expressive responses to reality.

His times for study
collecting
visual memories
are periods

for

ingesting the forms

and de-

characterize the
places he has seen. Once he
has investigated and recorded
a spot, he owns it artistically.
New England, Jamaica, Mextails

that

ico, Portugal,

and

as much a part
as California.

fvlorocco are

of his repertoire

Wood

paints

with

authority,

using these subjects as a reference. His paintings have a

tendency

become

to

part of a

series. His earliest versions of

more attachment
to locale and specifics. As he
does more variations on a
theme he becomes increassubject have

ingly

abstract.

an abstraction

and

color

In

Wood

watercolor.

structured,

painting

begins with

design

value.

in

well-

that

forms the un-

He

then adds just

derpainting

enough subject matter

to give

content to his painting. A totally

nonobjective painting does not

appeal

him as a goal: a
work would be

to

tally realistic

pellent to his style.

"I

believe a

watercolor can have two

ent lives."

tance,

to-

re-

differ-

he says. "From a dislike

to be soundly

structural,

it

a logical statement.

becomes beautiful
close
pieces of brushstroke, color,
and texture an Identity. have
a love for these little pieces of

Up

it

abstraction."

A Wood

painting has certain

distinctions that

Shapes are

mark

it

as

his.

often lifted out as

areas, roughly rectangular,

although one side is usually
light

Shapes don't coincide with edges but have a life

of their own separate from subject matter. Edges are lost and
softened.

found.

warm

Color

is

dominantly

is always
balanced by some of its opposite. There is a "now you see it,
now you don't" sense of mystery in his most intriguing work.

or

cool,

but

Contrasts are essential

in

his

approach to design. Velvety

wetness is accented by the
crispness of a sharp edge.
Dynamic diagonals are relieved
by some static areas. Wood always balances elements
Although Woods art has not
undergone a major change in
style over the years, it has become more abstract, and subject matter has taken on the
aspect of a key needed only to
unlock the abstraction. He
widens his knowledge of nature
as he grows. Study is one of his
self-disciplines, but he gets
freer all the time from the limitations of natural appearances. If
there is any way to determine a
chronology to Woods art, it
would have to be in the area of
invention. The more he paints,
the more he invents.

Wood
ing.

His

intellectualizes

paint-

greatest feat occurs

before he does anything at all

dunng the plan-

to his paper,

stage. Technique is no
problem to him at all; he can
achieve any effect he has planned. There is a possibility, of

ning

course, that technical wizardry

A PROFILE OF THE ARTIST

165

can become a problem for an

artist and could lead to empty

Wood recognizes this

problem. To surmount his own
ease with the brush and every

glibness.

conceivable watercolor approach, Wood spends much of

his

time inventing the hardest

problems he can. To solve

problems creatively

is

his aim.

Highly competitive, his biggest

challenge
his

to

is

compete

with

own work, striving toward

more difficult painting

conducts throughout the country. Wood teaches through demonstrations. He shares his
creative process with his students from first sketch to
finished painting. Each demonstration is prepared by
planning, but once he's on the
spot before an audience, he relies on pure, spontaneous,
creative instinct to develop his
plan

and carry

painting

it

he has

through
in

to the

mind

He

some

rectangular,

"I'm

not

with

many

the board.

enters

the

California, at

since 1958.

fessional

watercolorists,

tinctions for him.

member

of

plains his ideas as he works.

with

his
dis-

He became a
American

Design as an as-

weeks each summer, on

1Kfi

Holidays" to distant

and

in

thetically

and

resembles an
a ballet with

kinesthetically.
athletic

Wood

role of performer.

one

It

event or
filling

the

description

demonstrations
captures a glimpse of this active man who builds up his subject from an abstract design to
of

of

his

workshops he

WATFRCni OR WnRKRHOP

to

colors

orches-

mood. He ex-

Wood

wets his sheet down

clean water and a dirty
brush. He begins laying on

slight, squansh
blue shapes
ones on a vertical grid. He
adds yellow-green, some
orange, some red. Most of the

sheet IS painted out. with a limited amount of saved white.

He turns the board upside

finished painting with a flourish

down and keeps adding

and speed

and

that leaves the view-

er breathless

The demonstration begins

Wood making little plans to
get in the mood. "I want to think
with

During a part of every year.

shares his knowledge by
teaching, in his own school for

places,

hot

demonstration by Wood is
an unforgettable experience es-

member.

"Painting

do a

the act of using his instruments.

Wood
five

on

directly
to

in

sociate

He plans
with

Watercolor Society In 1967 and

was elected a vice president of
the Society in 1970. In 1971 he
was voted into the National

Academy

front over-

set a

the

of

in

back.

painting,

the world of pro-

work has merited two major

in

trated

Missouri,

In

things

The whole experience of watching him is to see a virtuoso in

and in
New York. Watercolors by
Robert E, Wood have been
winning awards in top shows
Springfield.

linear

in

toughest

best work
Watercolor USA
his

300 pound sheet

his

now and again as he

with

much

He decides to push back with cool

and dark shapes. He staples

feats.

Wood

too

lapping things

paints at a rapid pace, talking

shows

with

he explains, "but like

to paint spaces."
From his plans, he chooses
one with an aenal perspective,
painter,"

ever

works.

some

arabesques each is different,

but each has a suggestion of
form, a statement of space.

symbolically rather than of

he says. "More paintings are lost in this stage than
in the finishing touches " He
makes many thumbnail plans.

things."

bright

bluish reds, using the

flat

brush very fast. His board is

tipped slightly at an angle. He's
thinking about color and rectangular shapes, but not about
subject matter. "Nothing is near
middle value yet." he says. 'So

any of these shapes can be

dominated by a darker, bolder
tone,"

He puts some torn blotters

down and leaves them on the
painting. Then he scrapes
some lights out with matboard
pieces while the blotters remain
on the sheet. He paints stripes
on a matboard scrap, stamps it
on the picture, and leaves it
there. He adds small darker
values around the big, open

Now

isn't rich

when

it's all

pure. Cool

paints

and warm mix underneath to

mute
Small bits of pure color
it.

enrich

He

"

it

subtly to give the sky

own

its

opposed

character as

red

the

varies

the

to

water.

More
wharf

added

details are

figures,

to the

ladder,

a cluster of

white

post-squee-

he removes the
blotters and matboard. There
are shack roofs, one with old
He lifts out a moon
boards on

geed out with the brush handle,

lightning speed
all done with
and dexterity. When he paints.

hover
a brush, letting
below a deep mauve slash of

forward, bringing his

forms.

it.

with

it

A
be
form resembling a sheet seems

what now appears

to

sky.

to

be draping from an unseen

The challenge here

and
to

is

not,

turn this into wharf, boats,

can continue
organize it?" he tells the
signs,' but

crowd. "Every part of this painting IS not equally precious.

want to
There will be parts
accent more, and other parts
I

I'll

be painting will be more delicate." So saying. Wood begins

to add details A roof now appears corrugated from brushwork. A little fence is made with
the edge of a matboard scrap
by stamping it in pigment and
then onto the sheet.

The painting

is

basically red,

but there are other colors for

contrast.

Wood

explains, "Color

stepping

back,

left

hand

wrist

a
precise stroke, then resting his
left arm behind his back, wip-

steady

to

ing

his

his right

for

swishing

brush,

in

it

on the paper in
short,
vigorous gestures
snapping ones like a tennis
player whacking a ball.
Wood looks up a moment
water,

wire
'can

Wood moves,

in paint,

and says.

"In

would stop
stand back

at

done
I

this

to

look

studio,

stage and
at

it

I've

the rapid type of painting

believe

tion

my

in.

It

has the organiza-

want. I'm painting faster

can consciously conon the emotional

judgment and coordination of
hand and eye that has developed through years and
than

sider, relying

"

years of painting

Wood

returns

to

the battle.

He uses mat pieces as

a stencil
and sponges an area clean He

in

a figure, a small deck,

Then, he looks at

a roof area
the work

in

a demonstration

frame. The painting has a

and found

quality

in

lost

every

shape. Like the Navajo rugweaver who always leaves a

pathway for evil spirits to get
out of her designs. Wood has
left a way for the eye to get out
of each shape. Things vary
from sharp to vague There are
no continuous lines enwrapping
a form. The red wharf is nearly
complete. If there is more to do.
alone when he can
he will do
it

study the painting It's a statement of space, busy, but not

nervous space, lit by a dying
sunset and a rising moon. The
mood is peaceful in spite of its

Much

hot colors

imagination.
out telling

it

"I

is

left

all,"

the

to the
it

with-

artist

con-

try to tell

cludes.

careful focus proves that

one cannot describe or explain

the scene. What shadows that
portion of a boaff" What bnghtens that sheet that seems to be
hanging there? What shopkeeper hung that fish sign from
Its
curlicue of iron so high
above the buildings? What sea
embraces this rosy wharf?
We aren't supposed to know
these answers. We are to feast
our eyes first on the pattern of
light against dark. We are to

A PROFILE OF THE ARTIST

167

enjoy the details for their

We

sake.

can

ask

well

gives us more than

own

Wood

if

we need

to

a place, or less'' His

statements delight; they tell us
about the scene, but they aren't
full accounts. They are, rather,
a group of notes spun together
in a rhythm. The rhythm is the

see

of

reaction

theme.
similar

We

the

artist

meant

to

of
Its

reaction

respond

to

in

to

his

cause a

the viewer.

the

arc

of

stroke, to the splash of a spatter, to

the energy of the work.

Wood, the audience itself

has been a catalyst. "I work
best under pressure. The adsomething
flows
renaline
happens." He practices by
planning ahead, but once on
view he goes into a mental gear
somewhere just a little above
the conscious. He calls on his
ability and all his experience for
his performance. The most obFor

ways

what he says while he

paints.

Words come easily, in brief

epigrammatic sentences or

A/ATCDr^ri

no

\nir\ot^cur\D

he

articulate, but

is

al-

at his

is

best on his own subject, watercolor painting, when he is

doing

it.

At this demonstration,
tle

more than an hour

years of preparation)

created a work of
the act of painting.

in

(plus

lit-

25

Wood

has
During

art.

Wood

watercolor develop

itself,

let

the

work-

ing with an attitude of discovery

so he could capitalize on any
spontaneous happenings. It's
in knowing when to leave the
plan behind and allow the
painting to occur that Wood

shows

vious clue to the effect of the

audience on the painter is in

paragraphs. He

flowing

This
is

his mastery.

how Robert E Wood

A compact, in-shape
human dynamo of crea-

is

today.

man, a

potential, he approaches
each new painting as the challenge of the moment. With a
purely Californian bravado, he

tive

is

sure that anything

and looks forward

is

to

possible

an

in-

creasingly harder contest with

himself;
to win.

one he

is

determined

Biography
and Awards

Robert E. Wood, ANA.. A.W.S

Born in California and educated
at
Pomona College. B.A..
Claremont Graduate School,
M.F.A.; Vice-President of the
American Watercolor Society:
Associate of the National

Academy
California

of

Design;

National

Society; Watercolor

Member

of

Watercolor
V\fest,

Watercolor Society.
Southwestern Watercolor Society, San Bernadino Art Association, Redlands Art Association,
Art Associa-

tion.

Since 1961, director of Robert

Wood Summer School Of
Painting, Green Valley Lake,
California. Also taught at University of Minnesota, Otis Art
Institute,
Scripps College,
Claremont Graduate School,
E.

Riverside Art Center,

Featured instructor on Painting

Holiday workshop tours to
Spain, Portugal, Jamaica, Mexico, Morocco, New England,
France, and Tahiti. Conducts
private
workshop classes

and

lecture-demonstrations

throughout the United States,

V\fest

Coast

and Laguna Beach

Traveling Workshops

and the

Rex Brandt Summer School.

including:

Arizona: Tucson

Cambria
China Lake, Fresno,
Long Beach, Los Angeles,
Monterey,
Oxnard,
Palm

California: Bakersfield,

Pines,

Springs,

Redlands,

Riverside,

San Bernadino, San Diego, San

Fernando, San Jose. Santa
Ana, Santa Barbara, Santa
Maria, and Sausalito
Colorado:

Denver,

Golden,

Greeley
Idaho: Twin Falls

Kansas: Wichita

Nevada: Las Vegas

New

Mexico: Albuquerque, Los

Alamos

Oklahoma:

Oklahoma

City.

Tulsa

Texas:

Dallas.

Houston.

Lub-

bock, Rockport

Washington:

Tacoma

Wyoming: Casper. Cheyenne,

Shendan

BIOGRAPHY AND AWARDS

169

One- Man Exhibitions

Watercolor Awards

Palm

Springs, California

1973. The Brandywine Gallery,

Albuquerque, New Mexico

1968-69. Cheyenne Artists

Cheyenne, Wyoming

Scottsdale, Arizona

Arts Fair: First

1974. Las Vegas Art Museum,

Las Vegas, Nevada

Laguana Beach

1968-70. The Gallery,

Guild,

Salem

1968.

Gallery,

Salem,

Oregon
The Zachary Waller
La Cienega, Los

1969-70.
Gallery,

Camelback

1974.

1974.
Griswolds
Claremont, California

Angeles. California

Neusteters

Gallery,

Denver, Colorado
1970-71. The Brandywine Gallery,

Albuquerque,

1972.

The Jones

New Mexico
Gallery,

La

Jolla, California

Red Ridge Museum,

Oklahoma City, Oklahoma
1972. The

New

Phyllis

1973. Le Nid Galerie, Northport,

York

1973. Wichita Art Association,

Wichita,

1958.

Vail

Co. Award

Annual Claremont
Purchase Award

Tst

1961. All California Invitational:

First Prize

Festival of Art.

Watercolor

1961. All California Art Exhibi-

York;

Kansas

Lucas Gallery,

Walker Art Gallery,

Minneapolis, Minnesota: Gallery Blu di Prussia, Naples.

Italy; Soligen Ohiigs, Germany;
Margot Schiffman Gallery,
Hesperia, California; Ken Merrill
Gallery,
Newport
Beach,
California: Scripps College,
Claremont. California; Westown

National Orange Show,

San Bernadino. First Prize

Watercolor

Watercolor

1963.

Springfield Art

U.S.A.:

Museum. Purch-

ase Award
1963. California Watercolor Society:

Ted Gibson Award

1964. California Watercolor Soc-

California:

iety:

Lytton Financial Corpora-

Monte, Montecito,
Santa Barbara, California; Gal-

tion,

Purchase Award

Gallery,

New

Gallery,

Duncan,

tion:

Also:

1969.

Gallery,

1958. California Watercolor Society:

Westwood,

Galleria del

lery

One-Eight-Five, Pasadena,

California

1964. All California Art Exhibi-

49th

tion:

Show,

First

1966.

National

Orange

Purchase Award

Watercolor

Springfield Art

Savings and

U.S.A.:

Museum,
Loan.

Lytton

Purchase

Award
1966. Butler Institute of Ameri-

can

Youngstown, Ohio.
Art Calendar
Purchase Award
Art:

Fine American

1967. All California Art Exhibit:

52nd National Orange Show.

Watercolor Prize

170

WATERCOLOR WORKSHOP

Publications
1967. Inland Empire Art Exhibit:

1971. Southern Cal Exposition:

San Bernadino

Del Mar.

Art Association,

Second Award

California.

Mini Exhibition:

1967. Butler Institute of Ameri-

can

Youngstown, Ohio.
Museum Purchase Award
Art:

California
National
1968
Society:
Watercolor
The
\Afetercoior USA. Award

1968-69

and

Inland Exhibition

III

IV

American Watercolor Society: The John Younger-Hunter

IVIemorial Award
1969.

1970. All California Exhibition:

Orange Show.

National

First

Award

Second

1970

Annual
West Exhibition:

Award

Third

tional

Centennial NaExhibition: Purchase

Award
1970. Inland VI Exhibition: San

Bernardino, California.
Purchase Award

1970

California

Watercolor

t\/lany

h/ledia

Second Award

Watercolor

U.S.A.
Springfield Art Museum. Purch-

The Watercolor Page: American

l^agazine. summer 1968

Artist

The Search
Watercolor:
slides with
ration

for

Forty

Creative

35mm

color

accompanying

by the

nar-

artist

ase Award
1972
C.S.

Watercolor West: C.N.W.

Award

1973. Riverside XI Annual:

Purchase Award

Watercolor

1973.

West:

C.N.W.C.S. Award
1973. All California Exhibition:

National

Orange Show.

Third

Award
National

California

Watercolor
Exhibition:

Members

Society

C.N.W.C.S. award

1973 Southern California Exhib-

Wichita

1970.

1972

1973

Watercolor

Award Watercolor

1971. Redlands

Watercolor

First

First

Society:

First

ition:

Del Mar.

1973.

Second Award

California

Watercolor Society
Buzza Award
1974.

Watercolor

National
Annual:

West:

First

Award

National
Bruggers

Award
1971 American Watercolor Society:

New

York.

The Martha

T.

McKinnon Award
1971

Watercolor

Riverside,

West

California.

III:

Third

Award

BIOGRAPHY AND AWARDS

171

Painting
Credits

Page
25

Monterey Signs. Collection

27

Flame

30.

Tree.

of

Edgar A Whitney.

at the Top. Collection of Mr.

and Mrs. Arne

Snow, and Sky Impressions. Collection

36 Summer

Morning Moon. Collection

68

Nazare. Collection

80

Tlie

82

Rockport Shrimp Boats. Collection

Sunny World

of Mr.

of Dr.

Robert

and Mrs.

F.

of Dr.

and Mrs. Edwin

Textures. Collection of Ltc

38

New

York
Bjaanes. California

and Mrs.

Cfiarles G.

B. Nelson,

Wood,

California

New Mexico

Ferrell, Illinois

E.F. Kuhl, California

Stacey Wood. California

of Live-in Sculpture. Collection of Miss

of Mr.

and Mrs. Tom

D.

Dunn

Sr.,

Kansas

102

New England

132

Tie

150

Warm Slumber.

151

Sleeping Model. Watercolor West Award, 1973. Collection of Mr. and Mrs Richard Moody, California

151

Mimi. California National Watercolor Society Award. 1968

152

Deep Creek

158

Return

159

A Walk

Light. Collection of Dr.

and Dye People.

W. Troutman, California

Southern California Exposition award, 1973

Watercolor U.S.A. Purchase Award, 1972. Collection of the Green Investment Co., Missouri

in Winter. Collection of

into the

Clouds.

All

Darien Wood, California

159

Empty Rendezvous.

160

Patty. Collection of Mr.

Orange Show,
K T Wiedemann, Kansas

California Exposition, National

Third Award, 1973. Collection of Mrs.

172

and Mrs. Faber McMullen, Texas

Collection of Mrs.

Collection of Bettina Gray, California

WATERCOLOR WORKSHOP

and

Mrs. Jerry Wendell,

Texas

Ind ex

high-key value, 99: low-key

Beached Boat. 43
Beach Figures. 142

value, 99; middle-key value,

Before the Storm. 24

99; middle values. 74-75;

Boats and

Nets. Honfleurs. 32

Cabin on the Shore. 45

California Coast. 20
Color: complementary. 42;

lift-off,

Figures,

44
Composition plans, 154-155
in.

Glaze: building. 44; direct.

40-42; exercise, 48-49;

66

Harbour and Long

Deserted Cabin. 12
Design elements. 58
exercise. 62-63; painting,

67

Fleet. 41

Hendricks Head Light. 1

High-key value, 97; exercise,
99; illus 98; painting, 100
Inspiration Point,

83-84;

exercise. 86;

illus.,

85; using

painting. 88-95

158
Dynamic design. 58-59
Falls.

Easels, 35
Empty Rendevous. 159

Exercises: compositions, new.

136-137; curvilinear design,

62-63; diagonal design.

62-63 dry

Streets,

Drawing, brush. 15
Drybrush, 15, 22

in

52-53

Kingston, 144

Diagonal design. 58-59;

Dunn's River

indirect. 39; painting,

Golden Sunset, 22
Gray Wharf, 54

Dead-End Wharf. 125

Deep Creek. 152

lift-off,

to paint. 143;

148-149; sketching, 144

painting. 138-141

Dry

how

Figures in the Trees. 96

Flame at the Top, 26

Containment, 59, 138

Dory

87

exercise. 146-149; painting.

Compositions: exercise. 136137; finding new. 135;

Curvilinear design, 58-59;

exercise, 62-63; painting.

space.

Ferry Boat. Sausalito. 18

studies for developing, 22;

unity

silhouette, 50-51;

129-131; static design.

60-61; texture, 106-107;
underpalnting, 116-119; wet

Brushes, 34

lift-off,

86; figures,

146-147; glaze, 48-49;

28

Lakeside Trees, 10
Las Baux. 29
Light, regaining, 83-85
I.
103
Low-key value. 97; exercise,
99; illus., 98; painting, 100

Lobster Pots at Motif

Magnetic design, 58
Middle-key value. 97; exercise,
99; illus 98; painting, 100
Middle values, 70; added, 73;
,

exercise, 74-75; missing, 72;

painting, 76-78

INDEX

173

Mi ml. 150
Mission at San Jose Creel<. 101
Monterey Signs. 25
Moonlight on the Cliff. 21

Silf:ouettes: exercise, 50-51;

Morning Moon. 38
Mounting boards. 34-35

Sleeping Model. 150

painting, 52-53

Sketcfibooks, 11;

illus.,

14; limi-

tations, 15; thiumbnails

21

in,

Space, 127; exercise, 129-131;

painting, 132-133
Staining colors, 40

Nature, working from, 20

Nazare, 68

New England Light. 43

102
New England Light
New Mexico Church. 14

Static design, 58; exercise,

60-61; painting, 64-65

II.

Northwest

Nude

Inlet.

03

Summer

151

4.

Subject matter, 57;

64-67, 153-157
painting,
Solstice.

Sunny World

Paint, colors for palette,

33-34

Painting problems:

13

of the Live-in

Sculpture. The. 80

Sunshine East. 56

compositions, new, 138-141;

curvilinear design, 66;

Texas Tug. 101

diagonal design, 67; dry

lift-off, 88-95; figures,

Texture: exercise, 106-107;

148-149; glaze, 52-53;

higfi-key value, 100; low-key

Tie

value, 100; middle-key value,

100; middle values, 76-78;

52-53; space,
132-133; static design,
64-65; subject matter,

painting, 105, 108-112

and Dye People. 132

Snow, and Sky

Tree,

Impressions. 30
Trees on the Ridge. 16

silhiouette,

153-157; texture, 108-112;

underpainting, 120-124,

148-149; wet

lift-off,

88-89

Palette: beginner's, 33;

160

See
Pier ^

illus.,

128

also Space.
,

120-124, 148-149
Unity,

Value: plans, 28; types, 97

Walk

in Winter. 1 58
Rockport Shrimp Boats. 82
Rustic Cabin, 94

Return

74

Scale, 58

Shopping Center Sketches, 145

174

159

contrast, 42-44

151

See also Glaze.

Wet-into-wet tecfiniques,

WATERCOLOR WORKSHOP

lift-off,

1 1

84; exercise, 87;

85; using
painting 88-95

illus.,

in

wfiites,

Into the Clouds. A.

Warm and cool

Warm Slumber,

Wet

04

Planning a painting 25-26

Saved

58

Wasfi, granular, 40.

Peace People. 70
Perspective, 127;

exercise, 116-119; painting,

full,

33-34; types, 34
Paper: stretcfiing, 35; types, 34
Patty,

Underpainting: abstract, 115;

Wharf Scene II, 141

Wharf Space. 25
Wharf Space II. 126
Wood, Robert E., biograpfiy
and awards, 163-170
Wyoming Farm, 46

22

Edited by Jennifer Place

Designed by James Craig and

Set

in 11

Printed

Bob

Fillie

point Helvetica Light by Gerard Associates/Graphic Arts. Inc.

and bound by Halliday Lithograph Corp..

Color printed by Sterling Lithograph

Inc.

Robert E. Wood, a native Californian. received his

B A from Pomona College and an M F A (rom Clare-

mont Graduate School A noted

walercolorist. he

is

Vice-President ol the Annerican Walercolor Society, an

Associate ol the National Academy of Design, and a

member

ol

many

ol the

Walercolor Societies through-

out Calilomia

Since 1961. Mr Wood has been director ol the

Robert E Wood summer school of painting in Green
Valley Lake He has also taught at the University ol
Minnesota, the Olis

An

Institute,

Scripps College

Claremoni Graduate School, the Riverside Art Center,

and the Rex Brandt Summer School He is an instructor in Painting Holiday workshops conducted all over
the world, and he lectures and demonstrates throughout the United States
In his active career, Mr. Wood has had over 80 oneman shows and has won awards in most ol the im-

portant walercolor exhibitions held

in

the country,

most recently the C N

C S award and the Buzza
award given by the California National Walercolor
Society

Mary

Carroll Nelson

plished

ariisl

is

both a writer and an accomof Barnard College, she

A graduate

received her masters degree from the University ol

New Mexico She lives with her

in Albuquerque. New Mexico

husband, a physicist.

Mrs Nelson's publications include lour biographies

American Indians for young people (published by
the Dillon Press. Minneapolis) and articles lor various
ad magazines A member of the Southwestern Walercolor Society and the Pinon Branch ol the National
League of American Pen Women, her paintings have
been exhibited and have won awards throughout the
of

United States

Jacket Design by James Craig and

Bob FUlie

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