The issue 16 of the Art of Watercolour was released in September 2014.
The winners among the 23 finalists of the global contest of watercolor are finally revealed to us.
We meet the Malaysian who paints ordinary objects. 3 portraitists in this review: and the Americans . We parse ' universe and discover part of his techniques.
After a visit to the studio of 'rust and iron'pf , let's take a walk at fall with the British landscaper , or through the Alpes Maritimes historical tracks with the couple .
- In the News
- L.K Hwang
- 2014 laureates
- Lemayeur & Alunni
In the News
Confluence salon of Aiguillon
19th October - 2nd november 2014
The 3 guests of honor of this year are well known to the watercolor circuit participants: they are named Sonia Privat, Keiko Tanabe and David Chauvin. Two exceptional guests were also invited: the Belgian Gerda Mentens and Spanish Pedro Orozco (See AoW 13).
the International Watercolor Festival in Aiguillon will include in its panel, in addition to the watercolor and travel diary (for two years) a new string to his bow, with the establishment of a real marathon sketch. The "sketchcrawl" is usually organized on a day and four times a year; this event takes place on the same date around the world.
Watercolor West supports transparent watercolor
In the western United States, artists at the California School of Watercolor have been a great source of inspiration. The painters began to gather to share their ideas and show their works; this then led to watercolor companies, including Watercolor West.
The Watercolor West Society continues to honor the seamless watercolor tradition. One of the characteristics of the watercolor technique is its transparency, which allows the paper to shine through a veil of color.
Exhibition Hall of the Ratchadamnoen Contemporary Art Center (RCAC)
I really liked this room, as well as its lighting. This photo was taken around midnight, twelve hours before the opening ceremony - which is why there is no one.
World Watermedia Exhibition, Thaïlande
The Office of Contemporary Art and Culture and the Ministry of Culture have sponsored and supported this international event in all possible ways.
The exhibition featured 289 watercolors painted by 116 artists from around the world, including 30 Thai artists.
The joy of others is a big part of ours, Ernest Renan
2013, 40 x 30 cm, Olivier Bartoli
Le Français Olivier Bartoli, portraitist.
My approach ? Exploring the boundary between the real image and the subjectivity of the subject is my way. From the simplicity of a look, it's like starting with the three primary colors, starting from a poverty that becomes wealth.
In a world in crisis of relationship, in a society plagued by pessimism, give a positive and profound look on people. Believe in the humanity of everyone. My subjects are therefore very varied in age and origin, as long as they have something to tell me, something that I can then translate and interpret for others.P 16 Olivier Bartoli
Book of Records, 48 x 68,5 cm.
The objects that I choose to paint are especially those that will give me this composition until the shadow falls where I wanted it.
L'Américaine Kara Castro, peintre réaliste.
I circulate the water on the sheet. When I pour pigment and water on my paper, it is like reading the surface and causing it to accept or release the water that carries the color. In my works, I choose my objects according to the shadows they provoke. Solid metal objects give you hard shadows that look heavy.
Simple lines drawn in pencil are drawn on the watercolor sheet. Each painting needs something different: the opaque pigments can be used for a surface to accommodate details, such as characters on a book page.P 17 Kara Castro
Morning on the corner, 2014
46 x 64 cm.
Le Polonais Micha Jasiewicz, paysagiste.
I am an architect and painter at the same time - painting is a passion as well as a lifestyle. Contrary to what I learned during my architecture studies, I see watercolor as a type of art rather than a graphic style.
My works are often inspired by a ray of light on a facade, the shimmering surface of the water or the sky swollen with clouds rather than by a particular object.
P 18 Micha Jasiewicz
Sliced Citrus with Calamondin, 2009. 35,5 x 51 cm.
The third of my watercolors and my first work on citrus
L'Américain Frank Spino, publicitaire converti aux beaux arts.
A few years ago, I decided that it was finally time for me to discover what I could achieve if I devoted all my energy to the fine arts. In 2009, I started to paint my first real watercolor.
My goal is to paint with the appropriate colors and interesting compositions that share a moment, tell a story, and that will move the viewer as I have been. This, for me, is a successful painting.P 19 Frank Spino
Meeting with Lok Kerk Hwang
To me, the biggest challenge in watercolor is that when I get something incredible, whether it's wet-on-wet effects, dry brushing or highlighting details, the feeling then is simply inexplicable.
My inspiration comes from observation. I am intrigued by abandoned and abandoned objects, and I try to extract from everyday life its hidden charms. I think a trivial thing or event is more likely to touch people's hearts because, very often, it's something rooted in everyday reality. I hope that my art succeeds in deciphering the unique beauty of everyday life to reach the universal.
P 22-25 Lok Kerk Hwang
Morning Song n° 5. 2013. 51 x 36 cm.An old bicycle with a luggage cart lay in front of a yellow wall and a rusty blue door, projecting I was seized by the temperature contrast between the different shades. I am fascinated by themes that arouse nostalgia.
Morning Song n° 6, 2014. 51 x 36 cm
- My inspiration: In my city there is a bicycle repair shop; his owner is 80 years old and he still works for his clients. His store was my playground when I was a kid, and even today, that's where I find inspiration for most of my subjects. I begin by observing and studying the spatial arrangement of the shop; I then come back to visit her several times at different times to find the point of view and the shadows that interest me the most.
- The composition choice: If you compare the photo and my table side by side, you will find that I have not changed much in the composition. The decision was made on the spot by seeing the subject. I chose to change the color range and the high light areas to catch the eye. I also decided not to represent the background because of its complexity and I wanted the viewer to focus on the main topics: the inscription on the wall, tires and bikes. In addition, I used ample gestures to reduce the importance of tools in the foreground.
- The way of working: If 70% of the composition was done with the camera, 20% of the work consists of losing the confused background and centering the roof. I wanted to focus primarily on panels, tires and bikes. The remaining 10% consisted of constantly reminding me not to over paint the machine in the foreground.
- No hidden meaning: This painting has no meaning or special symbolism. I only want to render, with the help of my brush strokes, the beauty of something that tends to disappear from our landscapes, and particularly from my hometown.
- Diagonals: The diagonal plays a very important role in the composition. If you remove it, the lower part takes too much importance compared to the upper part; it is therefore necessary to have this oblique which balances the masses. This diagonal can also guide the viewer's eye to the bikes.
- My color palette: My color chart revolves around the three primary colors (yellow, red and blue) as well as the colors obtained by mixing them together. I chose yellow ocher for the wall and an ultramarine blue for the bike as my two main colors because, together, they form a duet pleasant to the eye. Burnt Sienna was used to create the marks on the walls, render the wood and tires.
Nicholas Phillips Artist's universe
The staging sense
In the beginning, there is the photo. Taking as a starting point childhood memories or ideas gleaned from books or movies, Nicholas Phillips mixes in his shots heterogeneous objects that serve his scenario. In the credits of the models seized in a narrative sequence, like so many actors of an imaginary film ... And that the watercolor will come to fix on the paper for eternity.
The photo shoot takes several hours. It is an experience that is a bit grueling. Although I control all the elements - the costume, the light, the postures of the model, etc. - Chance always plays an important and significant role: it is enough for the head to turn, with a particular focus, a drop of water. This is one of the wonderful things about post-photo work: it is only thanks to him that we can capture these purely random moments. It is actually the chance encounter between foresight and luck.
I start by tracing my drawing before continuing it with watercolor pencils. I go up very gently my tones while gradually washing my drawing. The final result will give the impression of an image that appears from nowhere. For me, this is where the true magic of watercolor lies: an accumulation of wash, without visible brush marks, without apparent outlines but fuzzy and the white of the paper giving the board an internal brightness.P 31 Nicholas Phillips
Rust and iron
American Peter Jablokow is an illustrator architect training that we found in his studio.
He has a particular technique for texturing his paintings: using masking tape, he masks part of the paint before cutting the exact shape with an X-Acto cutter to obtain a very precise work area.
In those parts of the composition that are fluid and moving, he sprays colors with a toothbrush until the sheet is saturated, then he tilts it in all directions so that the colors fuse and mix. Where more texture is required, it projects fluid to be masked with a toothbrush or mouth spray, before loading the toothbrush with color.
The trains are witnesses of our past, but now they rust, abandoned to their destiny, their entrails exposed to the viewer. I like the challenge of representing this chaotic set of pipes, cables, valves, gears and screws. I also like the challenge to recreate in watercolor this arbitrary texture, the result of the effect of passing time.
About Engine 8380- Nose here: The simple formula that I applied is: yellow halide for hot zones, blue manganese for cold, ultramarine and earth of Siena burned for the dark ones.
When I choose my subject, I am looking for a strong light source, a light that will create sharp and well-defined shadows and, I hope, bright spots on the whole these mechanical parts, as well as rich and varied light reflections. The low angle is an ideal angle of view to capture these reflections, which I try to highlight in my compositions. It is the shadows and reflections of light that best define the shapes, which explains their importance in my work.P 32 Peter Jablokow
Results of the 2014 watercolor contest
The paintings of the winners are in this edition's portfolio, you can look at them by clicking on the thumbnails below.
Snail,. 56 x 77 cm
Xiang Zhongxian, Chine, meilleur jeune artiste
Entretien avec Sylvie Griselle
Retired from National Education in 2011,Sylvie Grisellefound inspiration on portrait ofStan Miller representing a man with a white beard wearing glasses (we assume that this is Nick's gaze). An accomplished portraitist, she likes to show faces or scenes depicting people who have kept a certain authenticity or a way of life foreign to ours.
For me, the portrait is interesting only if it shows the personality and the thought of the model. But the interpretation I make of it is inseparable from my own sensitivity. Thus, if I am asked for a portrait of a specific person, the resemblance is absolutely necessary, but it does not prevent me from choosing the posture and a personal touch in the composition.
For other paintings, I can express myself with much more freedom. The most important is not necessarily the resemblance with a given person but more the sharing of an emotion.
P 68 Sylvie Griselle
On a violin tune, 56 x 76 cm
Watercolor on fine grain Arches paper300 g
Tenderness, 46 x 61 cm.
Watercolor on Arches block fine grain 185 g
Sometimes, I make sketches (sort of editing) for a better composition and a fairer balance. This allows me, from a basic idea, to build characters that retain one's clothing, the other the face or expression, sometimes the environment I need.
Working in the wet requires good control over the merging of colors. So I always start with the first wash in the wet that will create the general atmosphere by taking care to reserve the whites where necessary. And I take special care to choose the colors of the carnation of my models, because they are the ones who will help me to give life to the portrait. As the paper dries, I work the eyes (I fade the brush strokes with a spalter to bring more softness) and shadows by rewetting the paper if necessary with the help of a vaporizer.
Lemayeur & Alunni
Sur les sentiers de l'histoire avec Marie-Christine Lemayeur et Bernard Alunni
Beginning in 1987, Bernard Alunni and Marie-Christine Lemayeur specialize in illustration for advertising and, to a lesser extent, role play and stage illustration. From 1994 until today, the couple turns to documentary illustration, mainly for children's books (especially Fleurus Enfant, but also Larousse, Beaumont / Cerf-Volant, Kid Pocket and Pocket Jeunesse, Le Parc National Mercantour ...) as well as for the Monaco Postage Stamp Office.
Our watercolors were made according to our walks and especially our inspiration. The locations were chosen based on the buildings still on site, the most visible remains, their aesthetics and the emotion felt. Then, when making the book sur les sentiers de l’Histoire des Alpes Maritimes, a sort was made according to the history of the places and what could be told.
P 86 Marie-Christine Lemayeur et Bernard Alunni
Castellara de Thorenc, 26,5 x 25,5 cm
View of Cap Ferrat, 45 x 34,5 cm
In the end, it took us about two years of work, between historical research and the execution of watercolors. Covering a very broad period, since we go from prehistory (-400,000 years) to the sixteenth and seventeenth centuries, we also had to represent sites that we had not thought of before, but emblematic of their time and therefore Must ...
Since our meeting at the Decorative Arts, we are still working together. A pictorial mimicry has been achieved over time, even if some can still guess who does what (without looking at the signature!). It is difficult for us to know what characterizes each other. Perhaps Marie-Christine is more sensitive to colors, while I prefer more contrasts. Our osmosis, our fusion in life thus finds its natural extension in the work.
In illustration, we sometimes work with four hands (with two hands would be more accurate because we are not ambidextres!), when the urgency is felt or in relation to the preferences of each.
Paint an autumn landscape with Joe Dowden
Joe Dowden is a British artist who gives us his secrets to transcribe the majesty of autumnal landscapes on the paper.
He has had sixteen solo exhibitions so far, both in Britain and abroad. His works have recently been exhibited in Thailand on the occasion of the World Watermedia Exhibition (read). He has also published eight books on watercolor; his technical skills were also solicited by the British press and television.
To represent warm, golden tones, I use colors such as quinacridone gold, green gold, and gum-gut to make the heat in color. This palette also includes scorched Sienna, which I often use. These warm colors are added to my greens.
For me, a painting is 95% of values and 5% of colors. And the most important thing is the light. It does not come from colors, but from values. One of the biggest difficulties for amateurs who are learning to paint is to try to make light by color. I use the widest possible range of values, from the white of the paper to the darkest tones.
I like to paint on the pattern and I also like to take pictures. These are two forms of art in their own right. For me, a camera is sun in a box. I use it to capture the light. And what is ephemeral. Very often, I take many shots before making a painting; my subjects are saved in my device. And about painting on the pattern, I just returned from a stay where I was able to paint with artists from around the world. One of the painters I've come to love about is Ong Kim Seng - a watercolor purist who paints only on the motive and who, in less than an hour, is able to grasp the essence of a scene and restore its light.
P 72 Joe Dowden
Here's how I treat foliage in my works:
- With the tip of a brush well loaded with paint, I drop splashes from the bottom to the top of the sheet. As the brush unloads its color, the projected drops become smaller and smaller, giving an illusion of perspective. It is a random but structured process.
- I start, using a paintbrush, to splash water. By coming into contact with the leaf, these drops take a star shape. This creates not the leaves, but the dark spaces between the leaves. By then splashing liquid paint onto clean water stains, we obtain particularly sophisticated shapes and rhythms. By doing so in several layers, and waiting for each dry before applying the next, we can get perfect foliage in the most artistic way.
Cette méthode constitue un bon équilibre entre le contrôle et l’imprévisibilité. De plus, des événements aléatoires peuvent survenir sans que ceux-ci risquent de gâcher la peinture. Ces éclaboussures imitent en fait les forces de la gravité et rendent compte de l’effet du vent qui a distribué les graines qui ont créé les plantes. Les espaces en forme d’étoile donnent un sentiment de vide entre les feuilles. La perspective peut être rendue de cette manière. Une telle technique nécessite cependant, pour être bien assimilée, d’avoir quand même des compétences artistiques car elle est assez sophistiquée. Et en même temps, il n’y a plus de traces de la main sur la feuille, ce qui peut me plaire.
Simplifier les formes avec Linda Doll
Linda is currently President and Life Member of the National Watercolor Society, has served on the committee and is a judge of the American Watercolor Society and has also served on the Watercolor West Committee.(See ).
Although I have been taught never to use tinting colors, I find them adapted to my method of working in grisaille. A trip to a weaving mill in Mexico convinced me that I could get all the colors from only three primaries. It is possible to superpose the wash and glaze while keeping the transparency and freshness of the watercolor.
P 80 Linda Doll
4 key steps to a successful watercolor
The work of negative shapes is very important for me, I pay a lot of attention when designing my painting. I leave in my painting a lot of virgin spaces; what interests me above all is to show the interaction between the characters.
- I start with a wash on the sheet that can be uniform or random. I work with instinct, without worrying too much about what is happening on the sheet, I just make sure that I vary the moods, the color temperatures, etc.
- Next, I compare my sketch with the dozen sheets thus prepared and I choose the one that will best match the sketch. I postpone my drawing on my colored wash.
- I then paint everything in the shadows; I also place my average values that allow me to unify my painting. I try to constantly vary the colors.
- I do not care about the local tone at this point, just lights and shadows. Once these layers are dry, I then add the local colors or my dark tones to complete the painting.
Osez les couleurs avec l'Américain David Lobenberg
Seeing it My Way
38 x 28 cm
I chose the theme of the self-portrait for different reasons:
- As a model, I am always available twenty-four hours a day, seven days a week.
- The more I maintain my practice by drawing and painting myself, the better I can paint others.
- The self-portrait sharpens my eyes and helps me discern the details of a face with its angles, lights and expressions. Whether it's a self-portrait or a portrait of someone other than me, the challenge and the satisfaction are always there.
When I paint with a wide range of colors, I try to distribute them throughout my composition to create unity; this colorful unit is often for me the biggest challenge.
The question of technical skill is that of the artist's mastery of the means of expression he has chosen. An artist must paint fluidly and without hesitation. And again, that's not enough. Its own pictorial qualities and the emotion felt are also important considerations.
A painting must be something that grabs you and attracts you. I am a person of impetuous nature when I paint. So, I like to tackle my painting impetuously, taking risks and always being on the wire.
P 90 David Lobenberg
- first wash: I start by asking my first wash, wet on dry
- The shirt: Using the large brush - the one I hold in my hand on the picture - I put the tones of my shirt, wet on wet. A small vaporizer helps me to disperse the paint that I come back on while it is still wet, with a brush loaded, to create sinuosities.
- The face: I continue to work the face with clear washes, wet on dry. I accentuate the features by gradually increasing my colors through transparent wash.
- The bottom: I am now interested in the content. I seek the right balance between tone and value; I paint with my leaf upside down and my board raised to facilitate the flow of water.
- I end my bottom by adding sinuous lines in the cool, that is while the color used for the background is still wet.
- Mixtures: This is what my palette looks like during a session ... I clean the area that I use to mix at regular intervals to keep the colors clean. I'm painting my hand.
- Contrasts: Here, using my watercolor brush, I put another wash on the bottom over the first one. This is to reinforce the contrast of values between the background and the shape formed by my hand and my head.
- Reserves: I'm strengthening my values. I reserve some areas using 3M painter's tape that I cut into small pieces depending on the area I want to preserve. I can decide to keep these white places or repaint over with another color. The advantage of this tape is that it can be removed easily without damaging my sheet.
- Spray: With a vaporizer, I remove color in my background.
- Finishes: Using my Conté squares, I add opaque color to the current artwork.