Best of Watercolor Painting Texture

-

TERCOLOR

I

F/1n

t

1

I

v*/s

?

m

%

WM

-

~V-^--s*3

1

3fal Jk II **

Sr *.'

1 -

r

»a si w-

v

v"vi" »»»%"

vjE/

J&a^HH

*»«^'

Li

;

"V*"* -~_

*

*.

fek

'

selected by betty lou schlemm/edited by sara m. doherty

L

wam^

I

.

"* *».'••

] 1

Em

Am i

1

H

Dv i

H

BEST OF WATERCOLOR

MITE TEXTURE

Velvet Depths-Diane

J.

O'Brien

Copyright

All rights reserved. All

images is

in this

No

part of this

©

1997 by Rockport Publishers,

book may be reproduced

in

Inc.

any form without written permission of the copyright owners.

book have been reproduced with the knowledge and prior consent of the

artists

concerned and no responsibility

accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication.

Every

effort

has been made

to

ensure that credits accurately comply with information supplied.

First published in the United States of

Quarry Books, an imprint Rockport Publishers,

America

by:

of

Inc.

33 Commercial Street Gloucester, Massachusetts 01930-5089

Telephone: (508)282-9590 Fax:

Distributed to the

(508)283-2742

book trade and

art trade in the United States by:

North Light Books, an imprint of

F

& W Publications

1507 Dana Avenue Cincinnati,

Ohio 45207

Telephone: (800) 289-0963

Other Distribution by: Rockport Publishers,

Inc.

Gloucester, Massachusetts 01930-5089

ISBN

10

1-56496-369-1

987654321

Designer: Kristen Webster-Blue Sky Limited

Cover Image:

Back Cover Images:

(left to

Baskets, Judith Wengrovitz

right) Retired

But

Willing,

Vaughn

L Jackson

Tennessee Orchid, Stephanie Brichetto

Rhapsody, Diane Jackson

Manufactured

in

Hong Kong.

BEST OF WATERCOLOR

E

TEXTURE

selected by betty lou schlemm/edited by sara m. doherty

Whiskey and Old Apples-4nn

o o

^

Quarry Books Gloucester, Massachusetts Distributed by North Light Books Cincinatti, Ohio

Zielinski

best of watercolor-PAiNTiNG texture

introduction

^^^ he importance

of texture in

abstract and realist,

I

ture

I

ways

r

realism, texture

ferently to

Texture

is

is

unquestionable.

The use

of tex-

extensive in abstract painting; there are so

of achieving

it

is

and the variety

found

in the

each object and the space

is in

styles of painting,

all

more than merely

it

way

is

many

inexhaustible. In

the brush reacts

dif-

holds in the painting.

the paint, but even in the paper

—hot press, gessoed, cold rough, and extreme rough — these add the finished look itself.

The

varied surfaces

press,

to

all

The

the painting.

each

artist

calls for

surfaces are chosen to best reflect the

wishes

to achieve

mood

and the subject or non-subject that

these varied handlings.

Texture can be made up of merely thick and thin ing qualities. laid

of

The opaque and heavy

quickly over the paper.

The

paint-

contrasts with the thin

wash

application of turpentine to the

paper before painting adds a different look to the washes placed over

it.

By using such techniques

crayon, and

By

salt,

placing wire

a simple

mesh

as resists, the use of wax or

wash can become unique

or lace on the paper and then running

washes over them, yet another texture painting in the cold

in texture.

air,

is

produced. Merely by

the freezing of the paint gives a wonder-

ful effect.

The

artist's

imagination

is

the most valuable tool in find-

ing texture. There are so

many possibilities even

act of scraping the paper.

Think of the

different

in the

simple

marks created

merely by changing the scraper: use a piece of wood, a

plastic

best of watercolor-PAiNTiNG texture

credit card, cardboard,

and even your own

used stippling with a hard, short-hair

fingernails.

bristle

brush, or

We have we dab

the paint on with a sponge, or spatter with an old toothbrush.

Even watermarks can become advantages and create just the right note

when

we need

texture in

its

to

express our subject. There are times

shapes are solely used for design. Texture

can take a "ho-hum" design and remake

it

become an

to

exciting piece of art.

Texture effects not just our sense of sense of touch.

absorbs will

is

When

texture

is

by

washed

texture.

The same

and a rough surface

used successfully the surfaces

color

on, or dry brushed,

paper or rough paper,

when

other foreign substance

is

it

may appear

when

it

added

nature, the trees, old walls, in the

surface of rocks, and

Texture

is

when

painted on smooth

to the paint.

texture.

We study it in

way water has changed

how moss and

everywhere.

is

different

is

has been scraped, or when any

Every surface we encounter has

all

but also our

look and feel wet or dry, rough or smooth. Even color

affected

it

light.

A silk surface reflects light,

sight,

lichen play

the

upon them.

We try with different methods to bring

of this to our paintings.

It is

our hope that this book

some obvious and some ever

will

so subtle,

enhances our paintings.

Betty Lou Schlemm, A.W.S., D.F.

show

the

many ways,

how the use

of texture

best of watercolor-PAiNTiNG texture

BETTY CARMELL SAVENOR Out on a Limb 28"

x 21" (71

cm

Strathmore 140

x lb.

53 cm) illustration

board

Watercolor with watercolor inks

Pexture of

my

is

a necessary

work;

it

brings

component

my

painting

beyond the two-dimensional by adding density and penetration of color,

such as one sees

in nature.

Stalling with a limited palette,

layered

I

my varied-color washes

without any preconceived ideas.

While

still

wet. certain areas

were

textured by spattering, misting,

and stamping with anything that produced an unusual surface. Finishing touches included brush-

work,

lettering,

and collage with

assorted papers and silk tissue.

best of watercolor-PAiNTiNG texture

ROBERT SAKSON

At Hartung's General Store

in

Secrets

small girls just happened to

sit

22"

x

30" (56

Arches 140

lb.

cm

x

76 cm)

had purchased.

I

wanted

Hope,

down

to catch the

rough

aging store and chose to mix

New Jersey, two to eat the

rough texture of the

my colors with Winsor &

Newton Aquapasto watercolor medium, used

this

give

them

mixture primarily

in

candy they

the dark

a translucent gel.

shadow areas

a deep luminescence and lifelike effect

to

I

best of watercolor-PAiNTiNG texture

MARY LOU FERBERT Thistle

39"

and Spallinq Bridge

x 27.5" (100

Arches 555

lb.

cm

x

70 cm)

rough

Interpreting the concrete aggregate of the old

Rocky River Bridge was

the technical challenge in executing this painting.

Years of heavy use

left

the bridge deteriorated with spalling

exposing some of the substructure.

Unable

to find a shortcut

method

of interpreting the concrete, slowly,

moving from cool

to

I

painted

warm,

to establish the planes of the structure.

Color used

in the

bridge remained

subdued behind the more painted wild

thistle.

brilliantiy

best of watercolor-PAiNTiNG texture

ROBERT Vicki's

BRAGG

W.

Buoys

18" x 24" (46

Arches 140

cm

lb.

x 61

During a vacation

came upon

cm)

cold press

in

Maine,

I

a lobsterman's shed

whose many angles and textures intrigued me.

The

drapery of the old

softness and sail

contrasted

with the rough line of the

silver-

gray shingles and the brightly painted lobster buoys. Nets, bottles,

harpoons, and other sea

added

mementos

to the overall interest.

attribute

my ability to

interesting textures

matter to

I

recognize

and subject

my early art-student

training in realism.

best of watercolor-PAiNTiNG texture

J

:

ALEX POWERS

Texture

14 Million Children are Living in

simplifying of shapes. Slick-surface illustration board lends

is

the exciting alternative to the grouping and

Poverty itself

20"

x

40"

(51

Strathmore

cm

x

well to creating surface variations. Since the heads

102 cm)

illustration board,

were not broken up enough

to suit

me,

I

forced a loaded

plate finish

brush of white gouache along the top of the

Watercolor with gouache and charcoal

causing the gouache to run and further fragment the heads.

painting,

best of watercolor-PAiNTiNG texture

PATRICIA REYNOLDS

Texture was used to create

Moon

and

Series: Acropolis

21.5" x 29.5" (55

Arches 140

lb.

cm

x

75 cm)

to define subjects. In

interest, contrast,

Moon

dimension,

Series: Acropolis, the

sponged-out areas added to the feeling of crumbling

cold press

ruins and the surrounding rock masses leading up to the

summit

of the Acropolis.

broken

into

Dark areas

of the painting

were

an interesting pattern using texture created

by dropping color from a brush and spattering, sponging, and misting.

best of watercolor-PAiNTiNG texture

ELAINE WENTWORTH

The

The Woodlot

surrounds the snow-covered footbridge provides the

20"

x

30"

Waterford

(51

Trail

cm

300

x

lb.

76 cm)

cold press

richly textured

underbrush

in

the forest that

strong contrast in this composition. Diagonals create

movement and

lead the viewer deep into the woods.

Textures were created by drybrushing over washes of

warm and

cool tones, spattering with a brush, and by

scraping dry paint.

best of watercolor-PAiNTiNG texture

PAT FORTUNATO

To achieve

Material Pleasures #/ 22"

x

30" (56

cm

Lanaquarelle 140

x

76 cm)

lb.

fabric

the desired textural effect of the old, thin, soft

and the

slick glass required

and cool tones.

I

cold press

cast

on the

fabric

a cobalt blue

started with the

repeated glazes of warm

warm yellowish-pink hue

by the red carnation and when

wash over

that.

As many

dry,

used

as seven washes of

varying hues and values were applied before adding thin

darker lines and rubbing out light lines to produce the creases and wrinkles. Lace was carefully painted so as not to overstate

its

texture and a swirl pattern in the vase

created abstract shapes in the reflections.

1:1

best of watercolor-PAiNTiNG texture

JIM PITTMAN Line Dancing 30"

x

cm

22" c76

x

56 cm)

Strathmore Aquarius Watercolor with acrylic, watercolor pencil,

and watercolor crayon

Texture

is

an important element

my work and was

in

achieved using a

brush and a painting

knife, besides

drawing with a water-soluble crayon.

Using Aquarius paper, large

washes and

I

started with

built in layers

glazing, lifting, scratching,

scrubbing.

method final

and

continued using mixed

I

watermedia

by

in a push-and-pull

until

I

was

satisfied with the

image. This work

is

loosely

based on the idea of walls and the

marks

left

by time and man, varying

from ancient scratchings porary cuts,

be

I

graffiti.

visible

contem-

Without using short-

wanted the

washes

to

act of creation to

from the beginning

to the finished painting.

best of watercolor-PAiNTiNG texture

VAUGHN L JACKSON Retired But Willing 29"

x 21"

(74

Arches 140

cm

lb.

x

53 cm)

rough

Texture and the way

light affects

texture are important in

The

my work.

scaling paint of the shed door

required

many glazes and

drybrushing ered look.

I

delicate

to achieve the

weath-

painted a basic red on

the wall and then layered glazes,

gradually working until the grain

was drybrushed were

built

last.

Many glazes

up over the copper

horse's basic color to reach the

smooth, metallic roundness that contrasts with the door and wall.

The

loose,

wispy grass contributes

to the feeling of the horse's

movement.

IS

16

best of watercolor-PAiNTiNG texture

TRUDY

M.

WHITNEY

Richly textured surfaces, influenced by the ancient sur-

Ashram 19" x 24" (48

faces of

cm

x 61

cm) I

Strathmore 300 series 100

Ottoman Turkey, added

sought.

to the creative expression

A layer of torn absorbent material on presoaked

lb.

paper was

partially

covered by pouring a

thin,

creamy

Watercolor with gouache, acrylic,

and

ink

gouache

that left an

drying each

imbedded

texture. Alternating

layer, watercolor, inks,

applied and enhanced to give the translucent

markings were

and

and acrylics were

by using water,

alcohol,

and bleach

depth of patterning. Textured

directly applied to further

add

mystic tone and orientation of the painting.

to the

best of watercolor-PAiNTiNG texture

SHARON HILDEBRAND Moonlit Garden 33" x 25" (84

cm

Fabriano Classico

x

64 cm)

280

lb.

cold press

Watercolor with casein

Transparent watercolor was used along with casein and colored pencil to

produce the various

light

and

tex-

ture effects in Moonlit Garden.

Thicker and more opaque than watercolor, casein

was applied

obtain the look of thick,

to

wavy glass

windows, while delicate coloredpencil lines create the screen tex-

ture

on the windows. Semi-circular

halos of light were applied with the

bottom of a cup dipped

into paint

and pressed onto the paper. Texture helped create the

mood

of a late,

dark night with dim, broken

light

through the windows. The desired result

was achieved through the use

of a smooth, soft-surface paper that

could be

lifted easily for soft

edges.

I! 1

best of watercolor-PAiNTiNG texture

GERRY GROUT Still Life

30" (56

22"

x

140

lb.

I

with Horse Skull

cm

x

76 cm)

began by sprinkling powdered charcoal and dry pigment

onto the paper and then briefly held head.

The animal

skulls

it

under a shower

and bones were further defined

hot press

by surrounding them with watercolor washes

that suggest

Watercolor with powdered charcoal and dry pigments

a Southwestern environment Charcoal-pencil line

added necessary Collection of Paradise Valley

Community

College

details

work

and completed the painting.

best of watercolor-PAiNTiNG TEXTURE

FREDI TADDEUCCI

To

Windswept

lb.

movement and add energy and

vibrancy to the painting, colors and shapes were randomly

21.25" x 28.25" (54

Arches 140

create texture and

cm

x

73 cm)

applied without thought of a subject. Dropping wrinkled

cold press

tissue shapes onto

wet

paint,

I

rolled with a brayer to

Watercolor with acrylic and colored pencil

produce a broken texture and then added colored

pencil.

Further texture was created by placing plastic wrap on the

wet

paint, letting the paint dry,

plastic wrap.

alcohol

was

To achieve

and then pulling away the

a rich depth of color, rubbing

scattered on the painting and acrylic paint

layered on top.

was

I)

a

best of watercolor-PAiNTiNC texture

DELDA SKINNER

Texture helps convey the idea of an archeological discov-

Ancient Joy

ery;

20"

x

30"

(51

Crescent 100

cm lb.

x

76 cm)

illustration

it

adds mystery,

intrigue,

and excitement. Texture not

only adds color and spatial depth, but also adds tactile board

impressions to this work's surface. These effects were Watercolor with acrylic and watercolor pencil

achieved by different techniques:

many layers

of washes,

airbrushing, stencils used as overlays, and scratching with

various tools. Using hand-carved stamps, lifted

up paint

in

added and

various areas. Flow release and alcohol

were sprayed on and

was

I

rolled off with towels

partially dry. Finally, fine detailing

watercolor pencils.

when

the paint

was added with

best of watercolor-PAiNTiNG texture

JACK

R.

BROUWER

Palamos Blancos 21" x

29" (53

Arches 300

cm

lb.

x

74 cm)

Texture

often the

is

one element that

is

ignored

in a

successful painting, yet this subtle quality can elevate a painting to a higher level.

The dark background

of

cold press

Palamos Blancos needed

to

suggest atmosphere without

drawing attention away from the texture to contrast surfaces,

I

girl

was

or the doves. Using

able to create energy in

what could otherwise be considered a plish this,

I

concentrated on the texture of the

particularly the ruffles

texture

was kept

movement

dull area.

and embroidered

simple, except

of their wings.

top.

To accom-

girl's

The

dress,

doves'

when showing the

in-flight

best of watercolor-PAiNTiNG texture

ANNE KITTEL

The

Flotsam and Jetsam No. 6 19" x 22" (48

cm

x

56 cm)

inspiration for the series of paintings that includes

Flotsam and Jetsam No. 6 came from a battered pair of wire-frame eyeglasses

I

Using textured paper,

it

found

was

at a beach-front restaurant.

possible to paint

smooth

washes, such as those used for the seashells, as well as texture (with sedimentary pigments) to

lift

wet

paint the

paint, a plastic

mesh

to capture the

.

I

used paper towels

strawberry basket as a stencil to

bag, and sprinkled beach sand in wet areas

appearance of objects found on a beach.

best of watercolor-PAiNTiNG texture

LENA

R.

One with 24"

x

30"

Fabriano

23

MASSARA his

Music

(61

cm

300

lb.

x

76 cm)

Watercolor with pastels

I

worked out the composition

for

this painting with a pen-and-ink

drawing, and then transferred the lines of the

drawing onto watercolor

paper. After an

watercolor,

I

initial

application of

began working with

both watercolor and pastel to divide the shapes and build texture, and

then went over the pastel with

washes of watercolor.

I

continued

building up the surface in this until the painting

was

way

finished.

The

richness and interplay achieved

using liquid and dry media allowed

me

to

produce varied strokes and

create the near-abstract shapes

within the representational theme.

best of watercolor-PAiNTiNG texture

BETTY Up

for

22"

x

M.

STROPPEL

Overhaul

30" (56

Arches 300

cm

lb.

Up for Overhaul, one

of a series of paintings of aging

boat rudders, presented an opportunity to use texture to x

76 cm)

portray a weather-worn object.

The

intimacy of a close-up

cold press

view accentuated the

tactile quality of

the subject, and the

variety of textural effects maintains viewer interest.

achieve these effects,

I

used wadded

plastic

scrapers, spatulas, spattering, and stamping.

To

wrap, rubber

bes t of watercolor-PAiNTiNG texture

MONROE LEUNG

I

Cluster of Shapes 16" x 24" (41

Arches 300

cm lb.

x 61

found the dilapidation and deterioration of the aging

buildings to be intriguing subject matter. Weather-beaten

cm)

wood, peeling

plaster,

opportunity to

explore various techniques—

rough

drybrush,

flicking,

and old mortar provided an

wet-in-wet,

and scraping. The rough, rundown

conditions of the structures

dominant factors

ideal

made

in this painting.

texture one of the

most

La

best of watercolor-PAiNTiNG texture

JUDITH WENGROVITZ

Baskets emphasizes the design and texture used in

Baskets

weaving a basket. After a pencil sketch was completed,

22"

x

30" (56

Arches 300

cm

lb.

x

76 cm)

the highlighted areas were

masked and allowed

A

to dry.

cold press

light-color glaze

was applied over the whole

surface,

and

then a darker color was painted over that The wet paint

was scraped with the beveled edge brush

to create the basket's

of an Aquarelle

weave pattern before the

masking was removed. Additional glazes were added

show modeling and shadows. Using these was

able to achieve

a realistic texture in

to

techniques,

my painting.

I

best of watercolor-PAiNTiNG TEXTURE

SIDNEY

T.

MOXHAM

All aspects of

Song of Kokopelli 30"

x

30" (76

cm

x

my paintings use texture

whole. In Song of Kokopelli,

76 cm)

block out images

I

Strathmore cold press

with a wide brush. Watercolor with acrylic,

crayons

ink,

and the texture

I

as part of the

used clear shelf paper

to

wanted saved and then applied paint

Many techniques were used

—imprinting with paper

charcoal, crayons, alcohol,

to create

towels, tissues, frisket,

and tracings

—

all

process necessary to complete the painting.

part of the

-I

a

.0

best of watercolor-PAiNTiNG texture

ANN

ZIELINSKI

Arising from a series of previous brush-and-ink studies,

Whiskey and Old Apples 22"

x

30" (56

Arches 300

cm

x

76 cm)

recreating the texture and aged surface of the whiskey

jugs proved to be an all-important facet of this painting.

lb.

Once committed

to

memory, the

studies

were

set aside

Watercolor with acrylic and crayon

and

I

began

painting.

To

a painting and plastered

create the added texture, it

I

took

randomly with handmade

Japanese papers, leaving only some of the original painting exposed.

My best paintings are realized by blocking out

any preconceived endings and relying instead on memories.

best of watercolor-PAiNTiNG texture

ALINE BARKER The Robins are Back 22" x 30" (56 cm x 76 cm) Arches 140

lb.

Using a number of techniques, texture can give a painting depth and excitement. After pouring pigments onto dampwaited for an image to suggest

ened paper,

I

case a tree.

Much

cold press

of the texture

itself, in

this

was created using a

Watercolor with acrylic, polymer,

and inks

variety of watermedia, pouring

and allowing them

to react as

they merged.

The

was developed using a

plastic pot

scrubber and

salt,

surface, tree

them onto the dampened

which was sprinkled onto the lower-right corner. Further mixing with a spatula added

to the texture of the piece.

best of watercolor-PAiNTiNG texture

RICHARD

J.

SULEA

Wall with Roof 14" x 21" (36

Arches 300

cm lb.

Weathered

architectural forms, with their varied surface

textures, can x

53 cm)

be realized by experimenting with a variety

of unconventional tools.

Working

either

wet or

dry, the

cold press

surface can be blotted, scratched, and manipulated to Watercolor with gouache

create form in light.

Most

often,

paper towels, sponges,

sandpaper, and razor blades are employed in the later stages of development.

best of watercolor-PAiNTiNG texture

1

,

%fej

,

r

r^ ** 1

H

1

*

:

-

i/a**

~M

s 1, *

k

''!,'' 1

•

1

1

i

v-Al

'iVl

vv' i

•ig 1i j

,-

:

;

J?

«

!

^

if

|i

r

:•

$£

^f

•

s

ROBERT Go/rf

S.

OLIVER

Leaf

The in

14" x 14" (36

cm

Crescent 310

lb.

x

36 cm)

addition of texture through the use of modeling paste

Gold Z^a/introduced another dimension and added

excitement to the painting, both

in surface

treatment and

cold press

as in the variety of paint-application techniques.

Many

Watercolor with acrylic, tempera, and

modeling paste

transparent glazes of watercolor and acrylic, coupled with

opaque applications of tempera, produced the finished painting.

The

addition of iridescent gold acrylic brought

excitement to the painting.

'

II

best of watercolor-PAiNTiNG texture

DIANE JACKSON Rhapsody 28.5"

x

18.5" (72

Arches 300

When I

cm

x

47 cm)

cold press

lb.

forming ideas

for Rhapsody,

concentrated on composition and

c

m

\

,fU

'

then focused on developing a contrasting blend

of textures. Items in the

were chosen

for their

beauty, complexity of textures,

kV

and harmonious flow still life

unique

combined

and array of color.

painted the subject

life-size

I

and

used the white of the paper rather than masking. Details of the painting needed to blend and flow

without appearing congested or

confused while

letting the

items

retain their individual textural characteristics.

. -

-

best of watercolor-PAiNTiNG texture

CAROL HUBBARD

Texture

Winter Afternoon

is

29"

x 41"

(74

Arches 300

cm

lb.

x

104 cm)

is

not a photographic copy of the surface the artist

trying to paint, but rather a rendition of the color, shape,

and value of the particular surface. Winter Afternoon

relies

cold press

on the successful rendering of surface texture and subject matter for

its

impact.

baskets and pails that before a snowfall and

I

I

life-size

often throw the weathered

have collected

into

my courtyard

am usually rewarded with

a composi-

tion that doesn't look arranged. Simplicity, repeated forms,

and a monochromatic of the painting.

palette support the textural quality

S

II

best of watercolor-PAiNTiNG texture

ZETTA JONES Aura 30"

x

22" (76

Arches 300

cm

lb.

x

56 cm)

rough

Watercolor with ink

Many

of

my

paintings consist of

representational floral designs that

incorporate geometric abstracts,

with the flowers dictating the design.

Arches 300

lb.

rough paper has

a surface compatible with heavy texture, especially

when using

watercolor interchangeably with silver ink.

many

The wells of the paper hold

layers of glazes

when

render-

ing deep colors, such as in Aura.

The

textured geometrical design of

the painting supports the representational iris

and enhances

it.

best of watercolor-PAiNTiNG texture

JEAN

R.

NELSON

I

Cosmic Game 22" x 30" (56

cm

Lanaquarelle 140

used texture both as an underlying

resist

and a modify-

ing overlay, finding the use of a textured resist on x

76 cm)

lb.

unpainted paper gives a more integrated result than

rough

anything

I

could superimpose

In Cosmic

later.

Game,

I

Watercolor with acrylic and gesso

began by printing a word-grid cut

in

reverse on linoleum.

Using haphazard brushstrokes of thinned acrylic matte

medium on

the block,

cardboard shapes

I

then utilized both linoleum and

to print textured areas.

The underlying

word-grid provided a subtle texture and a sense of mystery, with additional shapes softening the edges

and adding dimension.

'Ii

in

best of watercolor-PAiNTiNG texture

DONNE BITNER Flowers for Bay lee 30"

x

cm

22" (76

Aquarius

140

I1

lb.

x

56 cm)

cold press

Watercolor with acrylic and watercolor

crayon

When

I

begin a painting,

primary intention

is to

rich, textured surface.

my

create a I

layer thin

washes of acrylic and mist with alcohol to

some in

the

lift

the paint and reveal

of the underlying layer. last

Only

stages does the painting

come

together and resolve the

many

initial

loose ends. In Flowers

for Baylee. texture gives the three-

dimensional areas depth and weight

and allows

for back-and-forth

movement

of space.

best of watercolor-PAiNTiNG texture

MARI M. CONNEEN

I

Corkboard Architecture

corkboard as a background. Our natural environment was

27" x 30" (69

Strathmore

cm

500

x lb.

76 cm) illustration

wanted

to create

an environmental statement using the

depicted by painting postage stamps, and older architecboard

ture

was represented by the renderings hinged

Objects on the corkboard were thirty washes, roller.

from

masked out and more than

light to dark,

After this process

together.

were applied with a paint

was complete, the mask was

removed, and the in-painting began. Edges of the painted pieces of paper were scraped with a razor blade to give

them

a three-dimensional effect

11

'

best of watercolor-PAiNTiNG texturi

RUTH COCKLIN

Trained

MEM-114

watercolor

12.5" x 18.5" (32

Arches 140

in architectural illustration,

lb.

cm

x

49 cm)

skills to

tions. Classic

I

decided to apply

my

portray the luminous effects of reflec-

automobiles, with their curvilinear designs,

cold press

massive chrome

grilles, headlights,

and bumpers, became

my focus. The numerous patterns in the fascination

and complexity

glazing over effect,

which

The design

brilliant, I

used

to the painting.

added

Layers of

white paper gave a stained-glass

to soften the lines

of the painting

and focused.

reflection

between images.

was kept very

defined, clean,

best of watercolor-PAiNTiNG texture

PEGGY BROWN Drifting By 34"

x

26" (86

cm

Various dry media worked wet-in-wet along with transparent watercolor help x

66 cm)

in

me

achieve the

tactile feeling

my work. Numerous layers of watercolor are

prevalent

supple-

Rives heavyweight

mented

with,

and complemented

by,

powdered charcoal,

Watercolor with charcoal and graphite pencil

graphite, colored pencil, or pastels, allowing each to dry

completely before continuing. While each stage melds with preceding ones, individual stages to the

end and become an

work. The design, with

its

show through

integral part of the finished positive

tied together with organic lines

my

still

and negative structures

and washes,

is

based on

previous semi-abstract paintings of Victorian homes.

8

best of watercolor-PAiNTiNG texture

MARY C.CHAN Mary's Catch 30"

x

cm

22" (76

Crescent

300

lb.

56 cm)

x

board smooth

Mary's Catch represents the combined effects of color and texture

working together.

It is

a personal

statement about a day of fishing.

My

goal

was

had

just

been caught,

submerged

to paint the fish as

in water.

still

alive

if it

and

Using water-

color wet-in-wet and masking the

bubble and algae areas, dark colors around the

I

applied

fish to give

the illusion of the dark side of

reds for

life,

some warmth, and greens

and cerulean desired effect painting in

to depict water.

The

was obtained by

some

direct

areas and throwing

and flecking the paint

in others.

best of watercolor-PAiNTiNG texture

II

JUDY CASSAB Desert Night 22"

x

30" (57

cm

x

76 cm)

Arches Watercolor with gouache

The

subject of Desert Night

is

the spiritual, surreal landscape of

Rainbow Valley Australia.

I

in the

center of

allowed the thin willow-

charcoal drawing to be visible under the watercolor to he^p establish the painting's texture. Pelican black

gouache accented the forms and added

to the overall textural effect.

•I

.

best of watercolor-PAiNTiNG texture

GEORGE GIBSON

Constructed from whatever discarded materials were

Caracas Condos

available, the

21" x

29" (53

Arches 300

cm

lb.

x

74 cm)

interested

housing

me with

its

common

to Caracas,

many textures and

Venezuela

colors.

I

used

rough

a drybrush technique in conjunction with sandpaper

and razor blade. As a contrast surfaces,

I still

retained a

to the

wash

rougher building

effect in the foliage areas.

Varied textures emphasized the array of materials used in creating

these structures.

.

best of watercolor-PAiNTiNG texture

BETTY

L.

ANGLIN

Impressions of Charleston 11" x

12.5" (28

Arches 140

lb.

cm

x

32 cm)

I

use a wax-resist technique developed after experimenting

with batik. Working on very absorbent rag watercolor paper,

I

drew

outlines of the shapes in

my picture with

cold press

permanent black

ink,

and then

filled in

the shapes with

Watercolor with gouache

bright color.

Once the

paint dried,

I

covered the colored

shapes with a melted combination of beeswax and After the

wax mixture

cooled,

I

parafin.

painted washes of India

ink and dark watercolors over the entire painting to

fill

in

the lines between shapes and the small cracks that occur in

the wax.

When the

paper dried,

I

removed the wax.

13

best of watercolor-PAiNTiNG texture

SYBIL MOSCHETTI Buttoned 30"

x

40" (76 cm

Arches 300

lb.

x

102 cm)

I

began Buttoned by applying irregular bands and areas

color until the piece

became overwhelmingly complex.

large center section

was torn

out,

of

A

and the remaining two

rough

uneven pieces were torn and reinserted

into the

open

Watercolor with pencil

space. This

was glued

floating central pieces

to

another sheet of paper and the

were attached

to the

perimeter with

sections torn or cut from the leftovers. Multiple pencil lines

drawn

in a

spider-web pattern softened the painting

while adding a sense of mystery. Painted buttons were collaged to catch the eye and add a touch of

reality.

bes t of watercolor-PAiNTiNG texture

BETTY

C.

BOYLE

Peek at the Deep 24"

x

30"

(61

cm

x

76 cm)

Having done a carefully rendered tree painting on expensive watercolor board,

I

upside down,

decided

Turning

it

allowing

some underlying

Crescent board

I

it

was too photographic.

layered gesso over the painting, colors to

show through. This

Watercolor with gouache and gesso effect

suggested an underwater scene that

upon by using a sponge dipped to represent coral

in

I

enlarged

watercolor and gouache

and vegetation. The resulting texture

helped depict the deep sea and establish realism.

r)

IS

best of watercolor-PAiNTiNG texture

LEONA SHERWOOD

The

San Miguel Street

aged appearance

9.5"

x

14" (24

Arches 140

lb.

cm

x

36 cm)

textures found in

San Miguel

to the buildings

Street help to provide

an

and convey the sense of

the road being rough and unplanned. Pieces of rice paper

cold press

were collaged onto the watercolor paper

to create the fig-

Watercolor with gouache

ure in the doorway and give

vitality to

watercolor that seemed otherwise

flat.

the areas of pure

The combination

painted textures and collage helped enrich the painting.

of

best of watercolor-PAiNTiNG texture

CARMEN NEWMAN BAMMERT

Working

Eye of the Storm

Golden heavy-body gel was used

20"

x

30"

(51

cm

x

76 cm)

in texture allows

rectangle,

me the freedom

form the

to

a palette knife, a comb-like tool,

medium

acrylic, gel,

and

be

creative.

circle,

inner

and ridges while organic shapes were done with

Crescent heavyweight illustration board

Watercolor with

to

and

my fingers.

Fluid

acrylic

acrylics

were glazed over the dried

gel, allowing color to

flow into valleys and rest on raised areas, giving the paint-

ing an illusion of depth. Pieces of dried paint and acrylic gel

were collaged

in the

areas. Texture gives this

convey

its tide,

center of the circle and other

work the needed energy

Eye of the Storm.

to

li

IS

•

best of watercolor-PAiNTiNG texture

JACK

B. BEVIER Almond Tree Ranch 13" x 24.5" (33

Crescent

100%

cm

x

62 cm)

I

am

particularly interested in textures found outside: tree

bark, stones, grasses, and sky, and

meticulous detail

in initial

I

drawings.

depicted

Almond

them with

Tree Ranch

rag hot press board

was

painted, glazing

from

light to dark, with a

combination

Watercolor with gouache of transparent watercolor face

and white gouache.

was maintained throughout, with as

the brush as possible.

little

A dry surwater on

best of watercolor-PAiNTiNG texture

M. C.

KANOUSE

Great Egrets 21" x 14" (53

Lanaquarelle

cm

x

300

36 cm) lb.

cold press

Texture helps define the feathers, the foliage, and the reflection of the birds on the water in Great Egrets. I

like to

use a

light subject against

a dark background, with middle

values kept to a

minimum.

A resist

applied to the birds was followed

by multiple washes. The of the birds

reflection

was created by gently

removing part of the washes pattern of the reflection.

in

the

best of watercolor-PAiNTiNG texture

Ffle&nKLflnll

FRED MAC NEILL

When I saw this

Northern Village 14" x

20" (36

Arches 300

cm

lb.

x 51

and cm)

spirit of

used for

its

scene

in

Vermont,

I

a painting were present.

transparency, but

I

knew the elements

Some watercolor was

primarily used

gouache

for

cold press

the opaque effect

it

provides. Gouache,

which

will

not be

Watercolor with gouache

disturbed details

when

and

a

wash

is

used over

for overpainting colors to

it,

was used

add

for small

to the texture.

The rough grasses and bushes were drybrushed, which was

effective with the

paper used.

best of watercolor-PAiNTiNG texture

S!

PAULINE EATON Luna Layers 40"

x

30" (102

Crescent 110

lb.

cm

x

76 cm)

100%

rag illustration

board Watercolor with gouache, Chinese white,

and metallic

silver

Luna Layers develops design through the

parallel

of cloud formations,

elements

made billowy

and ephemeral by flooding watery

washes against pigment stages of drying.

The

in

varying

rolling hills of

the background are defined by spattered silver gouache and white paint, while the stark

moonlit

cliffs

hardness of

was created by

drip-

ping and flinging pigment onto a

dry surface. Overall, a wet-edged

moon

shines with contrasting light

provided by spare application of color

mixed with

metallic silver.

lL

best of watercolor-PAiNTiNG texture

BEVERLY PERDUE NIDA First Light

24"

x

32"

cm

16I

Arches 140

lb.

x 81

cm)

cold press

Watercolor with gouache

texture was very Light since

I

critical in First

wanted

to set a specific

mood and

capture the

dawn

illuminated the ocean

as

it

first

horizon.

To

edges,

was important

it

the right

break of

create hard and soft

amount

to

have

just

of moist surface

on the paper where the change of lighting occurred. Since two-thirds

of the painting

wanted

is

the ocean,

to create interesting

I

subde

changes there. Using

bristle slant

brushes vigorously,

was

I

able to

manipulate the paint, creating texture,

drama, and unexpected

effects.

best of watercolor-PAiNTiNG texture

:,:!

MARY WILBANKS Apparition 22"

x 15"

(56

cm

x

38 cm)

Strathmore Aquarius 140

lb.

Watercolor with acrylic and watercolor pencils

Texture of

is

an important element

my acrylic collage

paintings.

Following a process similar to erosion,

I

paint, print, pour, scratch,

and collage, then

away

to allow

I

sand and tear

order to emerge from

the chaos of texture.

The shapes

and forms that emerge are more varied and interesting than anything I

am

able to paint. Apparition

inspired

was

by the rock formations

Montserrat, Spain.

at

best of watercolor-PAiNTiNC texture

VIRGINIA L.GOULD

The

Harvest Bowl

of techniques. After a light watercolor

14" x 21" (36

1059

cm

x

53 cm)

Morilla board

texture in Harvest

shapes for the

fruit

Bowl was created using

a

wash was

number applied,

and bowl were painted with gesso,

with dry colored ink applied and pieces of plastic wrap laid

Watercolor with gesso and transparent ink

over each of the

fruit.

bowl

Crumpled wax paper was pressed on top

after the ink

were removed.

A

was poured. When

dry,

all

wraps

gentle sanding with extra-fine sandpaper

produced the mottled

effect in the

background.

best of watercolor-PAiNTiNG texture

55

BEV REILEY Jacks and Cat's Eyes 17" x 9" (43

cm

x

23 cm)

Winsor and Newton 260

lb.

cold press

Watercolor with gesso and gouache

Paintings that communicate texture

make us want to touch them experience the

tactile

to

sensations

they evoke. Jacks and Cat's Eyes presented a challenging exercise in painting contrasting 'extures. slick,

The

transparent surface of the

marbles and the smooth, red, rubber

ball

were contrasted with the

cracked, pebbled surface of the sidewalk.

The jacks

are colorful,

hard shapes with paint peeling off the edges from hours of play.

'

best of watercolor-PAiNTiNG texturs

JUNE BERRY

The

Picking Greens

response to subject matter that has a richness of

20.5" x 23" (52

260

lb.

cm

x

58 cm)

creative process

pattern,

and texture.

is

I

set in

motion by an

prefer to

instinctive detail,

work within a closed com-

paper position with a tight underlying geometry, to support a tex-

tured surface pattern. Pure watercolor allowed

me to build

up a dense texture through layers of underpainting out losing the brilliance of the color. in

with-

A variety of textures

the sky, buildings, trees, and vegetables

using different types of brushstrokes.

was depicted

best of watercolor-PAiNTiNG texture

MONROE LEUNG

I

Park Palms 18" x 24"

painted Park Palms on location,

fourth-of-July fireworks the night before.

(46 cm

x 61

lb.

I

had watched

As

I

sketched the

cm) layout,

Arches 140

where

I

thought of the exploding rockets and resulting

rough star shapes;

how they burst, blossomed, and

to earth, their lacy trails

drifted

down

resembling graceful palm fronds.

This fiery display was the motivation of the painting.

It

was

painted wet-in-wet, using a sponge for most of the painting.

i! I

best of watercolor-PAiNTiNG texture

LAUREL LAKE McGUIRE

To capture

Seaworthy: Gifts of my Father

tous union of object,

15" x 19" (38

Arches 140

cm

lb.

x

48 cm)

mind,

it

is

the

moment

of recognition

light,

when

the serendipi-

and mood catches the eye and

necessary to portray the essence of each

article

cold press

completely. total

More

useful than any trick or technique

concentration on a particular surface.

concrete, for example,

how it takes the

light,

I

and what

ing any subsequent element,

new internal

I

am

its

in paint-

must refocus and reestab-

dialog that expresses the

emotions that are evoked.

like,

properties are. This

hand and brush, and I

a

painting

focus on what concrete feels

internal dialogue guides the

lish a

If

is

memories and

best of watercolor-PAiNTiNG texture

?J

BEA JAE O'BRIEN The Concert 18" x 15" (46

Rives

cm

x

38 cm)

BFK heavyweight

Watercolor with watercolor pencil

My desire was to express the atmosphere of a concert, suggesting the orchestra, the lighting,

drama

of color

and

and the excitement and

anticipation of the event.

the textures,

I

spraye

1

To achieve

a liberally

color-rolled plate with water.

I

then

placed cut and paint-rolled papers

onto the plate in various patterns.

used an etching press

monotype

print,

to pull the

and then used

watercolor pencils to enhance the textures.

I

best of watercolor-PAiNTiNG texture

CHANG FEE-MING Morning Majesty 22"

x

30" (55

cm

x

I

am inspired by my environment,

and the regional 75 cm)

color. In

textiles,

from Malaysia

to Bali,

with their variety of texture and

Morning Majesty, the opacity

of the sarong con-

Schut rough surface trasts with the transparency of the lace

kebaya and the

conveyed sense of intimacy of the skin beneath. The smooth, glossy skin of the foot contrasts with the grainy texture of the sand. Careful attention to textures helps

bring out the physical reality of the young ladies and brings tangibility to the glory of a Balinese morning.

best of watercolor-PAiNTiNG texture

ROBERTA

P. LINTNER Wave Patterns XI 15" x 19.5" (38 cm x 50 cm)

Aquarius

II

80

Working on gessoed Aquarius freely,

hoping

to capture the

paper,

I

let

the paint flow

mystery of the ocean.

I

started with watercolor, working wet-in-wet, and then

lb.

used gouache, randomly spraying the surface with water.

Watercolor with gesso, gouache,

and

acrylic

Finally,

I

spattered white acrylic to interpret the feeling of

ocean foam. This technique gave a strong feeling of the fluid quality of the

ocean.

61

I.

best of watercolor-PAiNTiNG texture

DONALD

W.

PATTERSON

Backwater

ture

19" x 26" (48

Arches 300

When

cm

lb.

x

66 cm)

is

I

first

my attention,

spot a subject that catches

often the one element above

creative process. In Backwater,

I

all

that appeals to

tex-

my

found the tangle of reeds

cold press

an

irresistible challenge to paint.

To capture the essence

of

Watercolor with gouache

the reeds' texture,

I

used masking

and painted the negative areas

masking and painted the

fluid to

first. I

draw the reeds,

then removed the

positive areas.

best of watercolor-PAiNTiNG texture

NAOMI COX

I

Stargate 14" x

becomes even

a picture. In an abstract painting, texture

20" (36

Arches 140

see texture as a creative device to pull the viewer into

cm

lb.

x 51

rough

cm)

more

magical, with the tactile

immediacy drawing the

viewer into a world that exists nowhere

thought as distance.

I

worked on Stargate was

When

I

was done

to

salt

world of

to the receding

and crumbled

draw the viewer along with

distant planes.

My guiding

to create a

added abstract texture

planes using sprinkled

else.

plastic

me

wrap,

into those

it

Ill I

best of watercolor-PAiNTiNG texture

ANNA CHEN Prelude to a 25"

x

I

Still

40" (64 cm

Arches 140

lb.

x

Moment 102 cm)

was amazed by the

intricate

curved lines that formed

interesting geometric patterns

Christmas-tree balls.

on the surfaces of glass

Under strong

light,

they created

hot press

sensational reflections and shadows. In replicating these effects in Prelude to

a

Still

Moment, cool blue .colors domi-

nate the whole painting to give the effect of calm and

still

moments. Textures were created working wet-in-wet with plenty of water, starting from a small area, then extending to larger areas. After glazing light to

dry,

more values were added

that complete the painting.

dark and allowing

to create dramatic effects

to

best of watercolor-PAiNTiNG texture

CATHERINE ANDERSON

In

Hakuna Mootata

aliveness, peace,

22" x 30" (56

cm

Lanaquarelle

300

x

76 cm)

lb.

each of my paintings

my goal is to convey a feeling of and my love of life. Hakuna Mootata has

over one-hundred layers of paint to achieve a foggy glow,

hot press

depth, and texture that creates

masked through the on

at

the end. Each

Hake brush on 300

life.

The cows were

entire layering process

wash was lb.

and worked

applied with a 4 3/4-inch

hot press paper. Textures on the

cows and grasses were created with the masking

The roughness

of the grass, the

softness of the fog

composition.

combined

to

fluid.

muddy cows, and make

a satisfying

the

15

best of watercolor-PAiNTiNG texture

JOSEPH BOHLER Ana Maria-La Candelera 28.5" x 36.5" (72 cm x 93 cm) Arches 444

lb.

I

found Ana Maria

beeswax candles

in a small

for

Mexican

her church, the

village

last of

making

her generation

Texture

is

unifying effect that

holds this piece together because

it

helps create the

to enact this old process.

cold press

essence of times

past. Soft

and textured areas

painting produce contrast and interest.

drybrush

to give

surroundings.

an old-time feeling

I

in

the

primarily used

to the building

and

best of wa tercolor-PAiNTiNG texture

1)1

/

WOLODIMIRA VERA WASICZKO Deep Blue Moment 20"

x

cm x 76 cm) 100% rag hot press

30"

Crescent

(51

A floral subject,

such as Deep Blue Moment, lends

itself

beautifully to texture. After a light coat of gesso, the dried

surface

was flooded with

pale

washes of watercolor.

began the layering process, allowing drying time

I

then

in

Watercolor with acrylic and gesso

between. Instant texturing was produced on paint

by spattering water

alcohol in others.

were used

in certain areas

fairly

wet

and spraying

A toothbrush, sponges, and rubber nibs

to scrape

and drag the

paint, as well as to

out areas, creating diverse effects and resulting in a with a non-static approach to a realistic subject.

wipe

work

M 1

best of watercolor-PAiNTiNG texture

MARY ANN BECKWITH Origins Secret

44"

x

30"

(112

Arches 140

lb.

I

cm

x

76 cm)

hot press

Watercolor with ink and watercolor pencil

The image

of Origins Secret I

was

developed by painting multiple ers oi texture. Fiber

lay-

cobwebs were

over the paper and

tautly stretched

completely saturated with clear

water

until

surface.

they adhered to the

The

area was then painted

with washes of lightfast inks and watercolor. and once dry, the fiber

was removed, leaving Templates were

laid

its

imprint.

over the

surface, and diluted white water-

color

was sprayed unevenly, leaving

an additional layer of spattered paint.

The

final

development of the

painting included washes,

lifting,

and enhancement with watercolor pencils.

best of watercolor-PAiNTiNG texture

LINDA

L.

Moored

SPIES

Lewis and Clark 20.5"

x

26.5" (52

Strathmore

500

in shallow,

sun-dappled water on the bank of the

Missouri River, this pair of weathered wooden boats

cm lb.

x

67 cm)

caught

my eye.

I

floated colors

on the board

areas, tilted

hot press bristol

the paper to

let

them

run,

and spattered more colors over

Watercolor with watercolor pencil

the surface to capture the mottled reflection on the rough,

wooden

texture of the red boat. Color

was pulled

off along

the top of the gunwales and the side of the boat with a chisel-cut

The

brush handle, separating

light

from shadows.

diagonal of the white rope draws the viewer into the

surfaces of the boats.

best of watercolor-PAiNTiNG texture

MADELEINE BURKE-FANNING Tribal Affairs 22'

\

30"

cm

(.56

Lanaquarelle 140

x

76 cm) cold press

lb.

Watercolor with ink

Bj allowing the line and texture to

show through my Indians were

subject, the

made

part of the land

around them, besides adding a spiritual soft,

and mystical

feathery texture

quality.

The

was created

by pouring indigo blue and ink on wet paper.

moved

A strong spray of water

the ink around and created

puddles. After drying,

I

wet the

painting again and poured thinned,

white ink and covered wrap, which

and

direction.

again, to

I

it

with plastic

pulled to create line I

let

the painting dry

and used white pastel pencil

draw the figures over the dark

ink.

The work was completed by

applying watercolor in both positive

and negative.

best of watercolor-PAiNTiNG texture

ALLAN HILL

The chaos and chance

Central Steppes 22.5" x 30" (57

Arches 140

lb.

cm

associated with out-of-control

flowing paint and the resulting texture and forms were x

76 cm)

central in deciding the composition of

my painting.

I

prefer

hot press to imply nature's

imagery rather than

illustrate natural

Watercolor with acrylic

forms. fit

my

The

fluid qualities of

watermedia on smooth paper

spontaneous approach. Techniques used

in Central

Steppes included pouring and spreading pigment, spare

brushwork, and adding pieces of paper,

cloth,

and glass

to

achieve textures and edges. These prepared papers were

then torn for collaging. Texture's unexpected and ambigu-

ous qualities defined the forms and movements that pulled the

work

together.

-

watercolor-PAiNTiNG texture

tiest of

EMILY JAMES The Hearth 15" x

20" (38

cm

x 51

cm)

Watercolor board

The Hear th was inspired by the

homo

ol

Gone

with the

Wind author

Margaret Mitchell, a once

mansion pair.

that

has

stately

fallen into disre-

Balancing the suggestion of the

linear structure of the

room, the

feel

of aged, water-damaged, textured

surfaces, of

and a subde amount

warmth

of

memories provided

the challenge. Exciting textures

were created by applying Liquitex Gelex with a brush and palette knife to areas before painting.

The Gelex

doesn't totally resist the watercolor, resulting in a visual effect of

cracked plaster and charred logs the fireplace.

in

best of watercolor-PAiNTiNG texture

MARY JANE BELL

The essence

Reflections

surface textures of the paperweights to the designs within

15" x 22" (38

Arches 140

cm

lb.

x

56 cm)

of Reflections

is

the contrast of the hard-

them. Depicting the hardness of glass and metal using

medium pure watercolor provided a challenge. In the background, I

worked wet-in-wet

to create the soft texture.

Dry wash

was used on the paperweights, gradually building up from light to dark. I

I

tried to save the whites, but in several areas

used a razor blade

to retrieve highlights.

73

i

best of watercolor-PAiNTiNG texture

MARY ELLEN ANDREN Remembrance 20" x 23" (51 cm

For Remembrance, a ground layer was established and a

x

58 cm)

somber mood was

set.

Calligraphy

layers of transparent color

was used between

and torn papers

built

up the

Crescent 114 cold press board collage, helping create texture

and dynamics. Texture

Watercolor with acrylic and collage

was extremely important of lives in this personal Flight 800.

in

conveying the fragmentation

and deeply

felt

memorial

to

best of watercolor-PAi NTING TEXTURE

I "J

JANE OLIVER The Store 16" x

90

20"

lb.

cm

(41

x 51

cm)

hot press

Watercolor with acrylic

Working on dry

paper,

frisket in flat patterns

I

first

applied

and painted

with thin acrylics. After removing the frisket,

crumpled flat,

I

it

soaked the paper, in a ball, rolled

and while

still

out

wet, applied

washes of watercolor. this

it

I

appreciate

technique for the way water-

color

falls

on the crumpled paper

and the brighter colors resulting from the acrylic underpainting.

best of watercolor-PAiNTiNG texturi

1

L.

HERB RATHER,

JR.

Glass and Brass 30"

x

22" (76

Arches 140

I

cm

lb.

x

56 cm)

rough

chose the subject primarily

for

the intricate textures portrayed.

Keeping patterning as the central focus, the cut-glass vase provided

the opportunity to depict deep-cut patterns and shallow frosted-cut

areas emphasized by the refracted light patterns.

The hammered-brass

bowl and crocheted tablecloth offered contrasting textures particularly suited to

the transparent glazes

of the watercolors.

My primary

technique was direct painting on

dry paper; some edges were

ened with tissue while

still

soft-

wet.

»> «

*.

best of watercolor-PAiNTiNG texture

PATSY SMITH Winds of Autumn 40" x 60" (102 cm x 152 cm) 100% rag 6-ply museum board

Watercolor pigment was poured, dripped, and dappled to

produce a motded surface on the board. Once dry, thinned acrylic was glazed over, scraped through, and painted in linear strokes to

tie

the shapes together. Larger

Watercolor with acrylic

shapes were

built to

smaller shapes.

The

was enhanced by a

add

stability to all

feeling of

final

the textures and

wind through the leaves

glazing of deep-colored darks.

II

best of watercolor-PAiNTiNG texture

JOHN

NEFF Homer

A.

Appreciating 20"

x

28"

(51

cm

x 71

Acrylic washes were randomly used to create a surface texture.

cm) I

When pleased with the

reviewed

my collection

initial

of prints

and

washes and shapes, slides

from an exhi-

tissue on double weight illustration

board

Watercolor and acrylic

bition of Winslow position.

I

drew

Homer's work

for

placement

outlines of the figures

and cut them out

for

arrangement

in

in the

com-

on a separate sheet

the background.

Controlled brushwork was used for the

final painting.

best of watercolor-PAiNTiNG texture

i'J

HELLA BAILIN Roosters 29"

x 21" (74

Whatman

cm

x

53 cm)

illustration

board rough

Watercolor with acrylic and casein

Starting with a charcoal drawing,

I

painted the background with trans-

parent watercolor in ochres, reds,

and

sepia.

Torn pieces

of magazine

and newspaper were pasted on and glazed over with a thin coat of raw

umber

acrylic. Lighter parts of the

roosters were then wiped a sponge

was used

After drying,

I

away and

to create texture.

applied red casein on

the roosters' heads, white casein highlights on their bodies, and

accent colors in several areas to

complete the painting.

'

best of watercolor-PAiNTiNG texture

My focus on geological formations— something new

JEAN DEEMER

—translated well using

Intervention

formed from shattered remnants

24.5" x 32" (62 Indian Village

cm

300

x 81 lb.

cm)

300

lb.

rough over nature.

Saunders Waterford 300

lb.

rough papers

to capture the inherent texture of

The work began

intuitively,

glazing washes of

rough color,

scumbling, blotting, adding lines or marks, and

artificially

aging the paper to convey the essence of time.

The paper was

cut and peeled back to create layers.

Indian Village paper created, with

Scraps from

some

The

was torn apart and new shapes were

layering and additional color glazes.

my collage bin were used for the intervention.

best of watercolor-PAiNTiNG texture

11

DONNA WATSON Asian Harmony 20"

x

26"

(51

cm

x

66 cm)

Crescent watercolor board hot press

Watercolor with watercolor crayons,

gouache, and collage

Texture adds interest and excite-

ment

to

my paintings,

choice of materials

is

and

my

directly

related to the types of textures

want

I

to create. Hot-press watercolor

board allows for special effects of splattering, scratching,

the paint around.

I

and moving

started with

watercolors and watercolor crayons

and then added gouache

in layers,

allowing parts of the underpainting to

show through. Rice papers and

handmade papers were added extra texture, and paint

for

was again

layered over parts of the papers to

achieve a balance of textured and rest areas.

0.

best of watercolor-PAiNTiNG texture

V

CAROLANN WATTERSON

The composition

Abstract Noir

designed using texture

22"

x

30" (56

Arches 140

lb.

cm

x

76 cm)

of abstract forms in this painting only.

is

Created using acetate shapes

and crushed dye paper, gouache covers some areas of

hot press

color to create a veil and Watercolor and gouache

subdue the negative spaces.

best of watercolor-PAiNTiNG texture

&-m jtoy-

KATHLEEN PAWLEY

The

Patio Patterns

diamond patterns of the

22" x 29" (56

cm

Strathmore 3-ply

x

74 cm)

bristol

challenge of Patio Patterns was to interpret the

ing the integrity of the

iron table

wash

of the

and

chair,

while retain-

background darks.

vellum Bristol vellum,

being less absorbent, made

it

possible to

carry the wash through the iron work pattern, and return later with a small bristle

the grids.

The

brush

to

scrub out suggestions of

intense sunlight casting the

shadow pattern

on the patio maintained the flow of the circular patterns that repeat diagonally across the composition.

color splashed onto the flowerpot and ity

and contrast

Dark water-

geranium add

to the ethereal feeling of light.

solid-

81

best of watercolor-PAiNTiNG texture

MAXINE CUSTER

Use

Ancient Ones

gives the essence of past civilization, and serves as an

cm

x

Arches Aquarius

II

22"

x 18"

(56

46 cm)

of texture suggests ancient facades, creates

invitation to the

mood,

viewer to linger and explore the content

of Ancient Ones. In the process of painting, the ancient

Watercolor with

acrylic,

watercolor crayon

gouache, and figures

seemed

to

emerge

entirely

work developed using techniques

on their own. This

that included layering

of paint, transparent glazes, scratches with various tools, resists,

and stamps

I

carved from a variety of materials.

best of watercolor-PAiNTiNG texture

(r)

FRANK MILAUSKAS Marking Time 22"

x

30" (56

Arches 300

cm

depended on

76 cm)

cold press

lb.

The success

x

of Marking total

Time

concentration

on texture. The lobster markers, originally brightly painted, are

faded and worn, the ropes

now

now

salt-

eroded, and the post and roughly

hewn

split-rail

fence are deeply

weathered. Once, these markers identified prize lobster areas off the

coast of

Monhegan

Island,

Maine,

now, they are simply marking time with quiet dignity.

'

best of watercolor-PAiNTiNG texture

town of New Milford,

New York, many

BOGOMIR BOGDANOVIC

In the small, old

Winter

of the buildings date from the nineteenth century. Texture

22" x 28" (56

140

lb.

cm

x 71

cm) is

clearly visible

on the road, building facades, and

trees.

cold press

Texture

is

part of an artist's

craft,

suggesting the reality

of object surfaces, distances, atmosphere,

The

road and walls

were

first

washed

in

and contrasts.

burnt sienna and

ultramarine with a round sable, followed by a loaded bristie

flat

drybrush with the colors which was glided over

the ridges of the paper.

were drybrushed.

The

trees throughout the

work

best of watercolor-PAi NTING TEXTURE

RICHARD

P.

01

RESSEL

Casualties 20"

x

28"

(51

cm

x 71

cm)

Fabriano Artistico 140

cold press

lb.

Watercolor with acrylic

The sand have the

in Casualties

illusion of

dimensional since

had

to

being three-

it

was such

a

large part of the composition.

I

began by masking everything but the sand, and then used a tooth-

brush

to spatter

masking

fluid

over the sand area. After drying, I

applied a

wash

of color and

continued this process, working progressively from light to dark.

The permanence

me

to

of acrylics enabled

use the masking

fluid

on top

of already painted areas without dis-

turbing the previous washes.

When

the masking was removed, the sand

had a convincing texture because the lighter grains of sand were on top of the darker areas.

I

best of watercolor-PAiNTiNG texture

JOANNE AUGUSTINE

This enormous past-its-prime sunflower

Sun- Seed

impression on me.

25.5"

x

33.5" (65

cm

x

85 cm)

The smooth green

made

stalk

petals contrasted with the pecked-at seeds

Strathmore smooth sculpted leaves.

To

create these textures,

color directly on dry paper and

the surface.

I

let

I

a strong

and yellow

and raggedy, applied water-

the colors mingle on

used a variety of dark, non-staining sedimen-

tary colors for the seeds, and

I

pulled out the light and

dark patterns with brushes. To create the dry, rough leaves,

I

let

lifted lights

form and

the colors run together with water, and then

and dripped more darks

contrast.

to accentuate the

best of watercolor-PAiNTiNG texture

PATRICIA M. SAN SOUCIE

Different kinds of filters produce rich and varied textures:

Splash/Golden

rice

22"

x

30" (56

Arches 140

lb.

cm

x

76 cm)

paper produces large blobs or delicate dabs of mixed

color,

depending on

how it

is

manipulated; facial tissue

hot press

yields striated patterns;

Watercolor with gouache in their

own

and laces dry

in

puddles of paint

images. These materials offered a starting

point for Splash/Golden. metallic tissue

Brush work and

strips of collaged

completed the composition, allowing for

the enjoyment of colors, linear elements, and spatial

arrangements.

best of watercolor-PAiNTiNG texture

c£