A COMMENTARY ON WATERCOLORS Watercolor painting is the use of transparent water-based pigment on specially prepared watercolor paper. Watercolor painting utilizes layers of paint on the paper. The painter has to think "light to dark". Any areas of the painting that are to be white or a very light color must be left unpainted throughout the painting process. Areas that are to be very dark require multiple layers of color (each layer is added after the previous layer is dry). The paint is either put on the paper with a very wet brush, (which is called a wash) or with a drier brush. The paint is a more solid color with less water. Washes are most commonly used for sky, water and landscapes. Washes can be hard to control and require a solid preplan. A unique quality of watercolor painting is the look obtained when various colors are layered on top of previous colors (after each layer has dried). It creates a color that never could have been achieved, even by mixing colors on the palette. Sharon Redinger Now you can learn about various artists, their techniques, and the materials they use. Contact with each artist can be made through this website or by visiting their websites, as noted. August Grapevines by Sharon Redinger, Madison Changing Maples by Sharon Redinger, Madison Arboretum Blossoms by Sharon Redinger, Madison Sharon Redinger Sharon Redinger's watercolor style is described as "hard-edge" watercolor painting. iiiiiiiiiiiiiiiii"I paint on Arches 140 lb. cold press watercolor paper. I have painted for fifteen years with three sable brushes: narrow, medium and wide. I have also used a wide wash brush when I painted a sky in a landscape painting. I premix all my colors before putting paint on the paper. iiiiiiiiiiiiThe funny thing is that I am willing to let people use almost anything I own, except my paint palette. I won't even let Bill, my husband, touch it. I am very familiar with the rhythm of my painting style at this point. It's almost scientific. Every painting hits all the same stages and I have the same reactions, both frustrations and feelings of accomplishment every time. Now I can say: "I'm not going to get tripped up through this stage, because I know from experience that I can make it through." I carry my camera with me on all my walks in the woods, especially in the spring and the fall. I am very interested in the close-up world of leaves, their lights and shadows and hidden things in the shadows. My paintings begin when I spot a leaf composition that's interesting in shape and color. Each small wash of color is left to dry before another is placed next to it. Saturated colors and dark shadows are created by multiple layers of color washes. I paint from these photos because I am dependent on the light of the moment. I do not draw anything in beforehand. I chose the focal point from the photo, start painting it and complete the painting with what fits on my paper. The painting takes on a life of it's own. Each large painting (18" x 24") takes between 25 to 40 hours to complete." Yellow Lady's Slippers by Beth Ann Hamilton, Cross Plains Wild Lupine by Beth Ann Hamilton, Cross Plains Beth Ann Hamilton iiiiiiiiiiiiiiBeth Ann Hamilton refers to her style as "vignette botanical watercolor," though, to be specific, vignette refers to the composition, rather than the watercolor style and botanical refers to the subject matter. It is actually another form of "hard edge" watercolor. iiiiiiiiiiiii"I start by knowing my subject matter. I primarily paint Midwestern native wildflowers, so it is helpful that we have planted our yard entirely in natives. I watch my flowers carefully throughout the season and photograph them at various stages so that I can capture details not usually available in guidebooks. Most of my drawing is done during the winter months, when I refer to my photographs and my thick file of sketches and dried specimens. I begin a painting by making several drawings until I get a composition and a balance that satisfies me. Sometimes I can't reach that point and I'll have to set it aside and try again another year. The basic outline of the drawing is traced onto Winsor & Newton 140lb Cold Pressed Watercolor paper. Since I paint in a vignette style and most of my work is small in scale, there is no need to tape down the edges. iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiFor years I have been happy using a Winsor & Newton University Series 233 Size 0 nylon brush. My paints are assorted brands of tubes. I use my paper dry and apply the paint in a fairly dry manner as well, using only the minimum amount of water necessary to get the paint to blend. I usually begin with what I judge to be the most difficult section. Assuming that works out as I had hoped, I continue on to the more carefree elements of the piece. When completed, I use a little bit of ink outline to add crispness to the painting." Tenny Park Skaters by Peter R. Dooley, Madison Tenny Park Skaters by Peter R. Dooley, Madison Monona Terrace by Peter R. Dooley, Madison Peter R. Dooley Peter R. Dooley of Madison uses a different technique to achieve his soft effects. "The medium of Transparent Watercolor is not for everyone. It's a medium that is unpredictable and unforgiving. It makes the paper buckle and it's not permanent and must be framed under glass. It has many drawbacks yet it is very popular. I enjoy Transparent Watercolor because it is free, deliberate and spontaneous. Watercolor allows the artist to finish a painting in one sitting. I believe that watercolor should be simple and not be over-worked. I believe that color is very important in painting and requires great study itself. The tools of the trade are significant. It is of paramount importance that the best brushes, paper and paint are used. I use "Arches" 140# cold press handmade paper and "Talens Rembrandt" watercolor paints exclusively."   Click HERE to see more of Peter's work on his website. Picasso's Place by Laura Meddaugh, Madison Henri's Place by Laura Meddaugh, Madison Vincent's Place by Laura Meddaugh, Madison Laura Meddaugh Laura Meddaugh creates miniature, 3-D paintings. Many of them are only 7" x 10" in size. "I began doing watercolor miniatures out of necessity as my studio space was in a tiny bedroom, some twenty years ago. Later, when we also had to use the space for our daughter Sarah's bedroom, it was then time to put an addition on our tiny house! Now one home later, I still have a small studio on our sun porch, but the light is lovely, and with plants, a fountain, and two cats in there with me, it's a wonderful space! I look forward, most days, to getting out there and painting! Through the years, I have enjoyed adding other types of medium to my watercolor, including pen and ink, water soluble crayon, pastel pencil, iridescent watercolors, and even fabric paint on occasion. I use CARAN d'ACHE crayons, Winsor Newton watercolors, and I paint on moulded Arches 140# watercolor paper. Embossing the paper allows me to create a 3-dimensional effect in my work All are original one-of-a-kind pieces, and I call my body of work, "Rooms with a View." In most rooms, I also include a miniature computer generated likeness of a famous painting that I am fond of. These, then, are the beginnings of the famous artist's rooms I have been painting a lot of the past 3 years or so. I sure am having fun!"   iii If you missed our previous What is It? page, you may click below to view it.

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