To illustrate some of the techniques that can be used in watercolor painting, I used several in a recent demonstration painting. 

In the first wash, working very wet, I used salt to create a texture. Small grained table salt and large grained kosher salt pushes the pigment away as it melts. This works for foliage, rocks and gravel roads.

 The second technique that I used was scraping and scratching.
In the trunk of the tree, I scraped while the paint was still wet.

Scratching when the paint is wet creates a groove in the paper that will fill in with pigment to create a dark area. When the paint is semi-wet, the scratch marks will not fill in completely, leaving a lighter mark of the color that was scratched into.

I scratched into the foreground in areas where the paint was dry. You can remove all of the paint, right through to the white of the paper when the paint is dry.

Finally, in the foreground, while very wet, I blotted with a soft tissue to lift some of the pigment in random shapes, which were then used to create grass- like textures.

While fun to experiment with, focusing on techniques don't make a painting successful! In a good painting, drawing must be accurate, the values or form must be correct, the composition must be good, and the color correct in relation to the light source. Experiment with ways of adding texture, and the interesting techniques that can add even more depth to your paintings.

My favorite subject to paint is waterfalls. Traveling to Bond Falls in Michigan which has several falls is always a pleasure for gathering more subject matter to paint.
On one trip, satisfied with the  many photos of the rocks and water around the main fall, I was ready to leave. On the way back to my car I noticed this little area cast perfectly in light and shadow.  At any other time I would not have noticed it. 
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The maple tree seedling against the dark background was the subject that I used to paint "Reaching For the Light" which received an Honorable Mention in the recent Illinois Watercolor Members show.

You don't have to travel to exotic places. Very often the perfect reference for inspiration is right at your feet, beckoning in a ray of afternoon sunlight.

As a teacher and painter for almost 50 years, my passion has always been watercolor painting. A difficult medium to begin with, painting without using any opaque medium is even more challenging. To gain signature status in the Transparent watercolor Society of America, an artist must meet the strict criteria set forth by the society, and be accepted into three separate annual exhibits.
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In my previous blog I announced that my painting "D and M Falls" was accepted into the Transparent Watercolor Society's annual exhibit and awards dinner, when I would be awarded signature status into the TWSA. 

I enjoyed great conversation with many of my peers, as well as with several of my students who came to share in the days' events, and celebrate with us.

Donna Jill Witty, TWSA Master, president of the TWSA, and former student of mine, gave a very personal, touching presentation, expressing gratitude to me for her own success as a professional artist. I was deeply moved by her words.

I was also awarded the $1000 Winslow Homer Award, and the painting was sold as well!

It was a rewarding time of success, surprises and celebration!

The title of the painting is "D and M Falls". Debbie on the right and Melissa are the "D & M" for contributing to the success of this painting.

Photorealism, abstraction, impressionism and everything in-between has fallen in and out of popularity through the ages. 
The current trend in the world of transparent watercolor is photorealism. Looking at the work coming from most of the watercolor societies in this country, it is evident that the majority of selected paintings and winning entries are in this genre.

While I am not  a photo-realistic painter, I generally enter work in three national shows each year. 

It may be tempting for artists to alter their style to meet the changing trends in art. It certainly can be an opportunity for growth, to challenge an artist out of their comfort zone. Yet it is also important to stay true to yourself, to continue to work in the medium and manner that gives you joy in your craft, in whatever style that may be.

The Midwest Watercolor Society was started in the 1970s by several midwest watercolorists including my teacher and mentor, Mr. Irving Shapiro. It grew from a regional show to a national exhibit, and became The Transparent Watercolor Society of America, with artists entering their work from across the country.. I have entered the two paintings below into their upcoming annual national exhibit.

Persistence pays off.

Step 4 is where I started to get into trouble. I wanted more contrast and intensity in the foreground rocks and water, but began to lose the form of each element. To achieve more form in the center of interest, I added color to the fallen tree trunks.

When I started art school long ago, one of my instructors said that if I wanted to be a good artist, one of the first things I should do is to buy a ream of typing paper and fill it with lines. First draw vertical lines on all of the sheets of paper, and on both sides. Then draw horizontal lines.
Then draw diagonal lines from left to right, and finally diagonal lines from right to left. The lines also had to be spaced equally apart.

So, I bought a ream of paper (which is 500 sheets) and got to work.  By the time I filled about 40 sheets, I got bored. It was not an exciting exercise. After all, I wanted to be an artist not a draftsman!
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​After my first year of studies, I took up watercolor painting and found out the importance of that exercise. 

I understood that I had finally left behind my coloring book days, and the grueling practice sessions learning cursive handwriting–all lessons learned using only the wrist. 

However, in drawing and painting, those habits will not serve you well. You will find that movements with your wrist are restricting, resulting in you having to continually turn your paper or canvas. The line work will lack fluidity.

You will have a bit more range of motion with movement from your elbow.

​But drawing from your shoulder will give you unlimited range of motion, especially when working on a larger piece.

Once you are able to control movement from your shoulder, you are more easily able to draw very small and very large lines in any direction without having to move your drawing surface around.

"Old Tree in Lone Grove"   28"X 16" 
​Drawing from the shoulder enabled me to make the initial drawing of this painting with more flow to capture the fluidity and continuity of the branches.

Thanks to Judy Arvidson-Program Chair, and Guild president David Becker, for the invitation to give a watercolor demonstration for the members of the Lakes Region Watercolor Guild last Thursday in Grayslake. Friends and fellow artists, Tony Armendariz and Ken Call, as well as former students of mine were also in attendance. It was an enthusiastic group of artists who were very attentive and asked lots of great questions! 

Four of my paintings have been selected for exhibit in "Watercolor 2018", the popular annual watercolor exhibit held at the  Norris Cultural Arts Center in St. Charles, Illinois.
I am happy to announce that several of my current students have paintings accepted into the show as well.
Congratulations to Karen Dodson, Debbie Freerksen and Patti Seifred.

​The exhibit opens Saturday, February 24th. The gallery hours are Wednesday-Sunday, 11:00 a.m. to 4:00 p.m., and is free to the public.   
The reception and awards presentation is Sunday, March 18 from 2:00 pm to 4:00 pm. We hope to see you there!

 I have been invited to present a watercolor painting demonstration for the Lakes region Watercolor Guild on Thursday morning March 8, 2018.
The meeting starts at 9:30 a.m., with the demonstration immediately following the meeting.

State Bank of the Lakes
50 Commerce Drive, Grayslake, IL
Lower level.