The Northwest Watercolor Society Newsletter

May-June 2015

Che Lopez was born and raisedin the Pacific Northwest, but hiswork is heavily influenced by hisChicano culture. His work isexpressive, loose and some saymodern. “I love to paint with colorin mind and love the art ofportraiture and figurative work.” Themajority of his work is inspired byhis Mexican-American heritage,from the bold color to the imagery.

Che is a Signature Member ofthe Northwest Watercolor Society,

Puget Sound Group of Northwest Artists and a member of theAmerican Watercolor Society. He is a graduate of Cornish College ofthe Arts with a degree in Illustration and Design. Che has worked asan animator, web and graphic designer, conceptual and a commissionartist for over 20 years.  He is also a USA Boxing Coach and hastrained both pro and amateur boxers, Muay Thai and MMA fighters

May Program – Che Lopez

Upcoming Membership MeetingsMay 26 • Che Lopez | There is no meeting scheduled for June

St. Andrew’s Lutheran Church • 6:45 Social Hour • 7:15 Meeting

Continued on page 4

Who’sTurning75?

The book, A FluidTradition - NorthwestWatercolor Society…The First Seventy FiveYears is finally here.It’s being mailed out tothose who orderedonline, and throughour Kickstartercampaign. It is awonderful writtenhistory of NWWS, fullof articles and photosof our founding artists’work. If you haven’talready ordered it, youcan purchase a copy atDaniel Smith.

We will also have copies for sale atour convention in July, and at our MayGeneral Meeting. I would like to thankeveryone who has been involved in thebook project, especially author DavidMartin, and designer Molly Murrah, aswell as Nancy Axell who donated atremendous amount of her time doingresearch and to Che’ Lopez whospearheaded our Kickstarter Campaignand Peggy Meyers, our Treasurer whohas done a fantastic job!

Our 75th Diamond AnniversaryCelebration is almost here. You canregister for the Convention online. Theonline registration process is reallyeasy. Thanks to all those who made ithappen. The Convention will be at theCrowne Plaza in Seattle, there areworkshops with Alvaro Castagent andJudy Morris, and of course the 2015Open Exhibition which will be hung atthe Washington Trade and ConventionCenter in Seattle. Please go to ourwebsite, www.nwws.org and take a lookat the activities.

Sign up for the convention, or go ala carte’ and just do the banquet. It’sgoing to be so much fun. A big shoutout to Theresa Goesling and CindyBriggs for Co-Chairing this event for us,they have put in a huge amount of timeplanning this event.

The 2015 Open Exhibition ismoving along. The list of acceptedartists will be posted on our website onApril 10th at www.nwws.org.Congratulations to everyone who wasaccepted. We had over 600 entries. I

2 · May-June 2015

President’s Message · Shirley Jordan

Northwest Watercolor Society

P.O. Box 50387Bellevue, WA 98015-0387

www.nwws.org

President:Shirley Jordan425-890-9289

Vice-President:Char Haugen206-282-1813

Corresponding Secretary:Seiko Konya

206-854-9110

Recording Secretary:Evette Norton425-442-5928

Treasurer:Peggy Meyers425-869-0783

Attorney:Darek Linke

linke@newmanlaw.com206-274-2800

Newsletter Editor:Jeff Waters

jeffrey.waters@comcast.net

Newsletter deadline for theJuly-August edition

is June 10, 2015

E-mail your items tojeffrey.waters@comcast.net

(Subject line: NWWS or Hot Press)

Please send newmemberships/changes

of address to:Peggy MeyersP.O. Box 50387

Bellevue, WA 98015-0387peg5948@aol.com

Please send all bills to:Peggy MeyersP.O. Box 50387

Bellevue, WA 98015-0387

think that is more than wehave had in a very longtime. What a huge jobthat must have been forJuror Judy Morris. Bigthank you to her. TheApril General Meeting willbe held on the 28th andElizabeth Kincaid will behere to demo for us. Sheis such a great artist, andso much fun to watch.Our own Che’ Lopez willbe doing a demo at ourMay 26 meeting. We willalso have election ofofficers at that meeting.

Have you ever wondered what willhappen with all your art books andsupplies when you no longer needthem, or can’t use them? That questioncomes up frequently. We werecontacted by Myrna Cole’s family abouther large collection of art/watercolorbooks. They were gracious enough todonate them to NWWS, stating that theyreally wanted them to go to someonewho could use them, rather thandumping them into the Goodwilldonation box.

At the last Board of Director’smeeting, it was decided to sell thebooks at our General Membershipmeetings for $5.00 each, and set asidesome of the money for an award inMyrna Cole’s name, at the nextWaterworks Exhibition. We will bebringing them to the meetings a coupleboxes at a time. There are some greatbooks, so be watching for those.

If you know anyone who has alibrary of Art books that they don’tknow what to do with, NWWS is alwaysinterested. Please contact me, or one ofthe Board Members. Our mission is topromote work and interest in watermedia and encourage members togreater creative growth and activity inwater media. Having these booksavailable for members is exactly whatwe are about.

We always have need forvolunteers, and there are several slotsopen now. We need ExhibitionChairman to handle our Open in 2016.

Continued on next page

May-June 2015· 3

EmotionalContent“A work ofart that didnot begin inemotion isnot art”PaulCezanne

Why do some paintings move usdeeply? Why do some of your ownpaintings cause you to catch yourbreath when you walk by?

Perhaps they are portraits of a lovedones or a memory of a particularlymeaningful time in your life. You may

besurprisedto discoverthat theyhave asimilarimpact onothers.Theemotionyoupouredinto thework leaksout.

Hereare two of

mine. The portrait is my wife’s dearestfriend who died very suddenly and waytoo soon of a virulent cancer. It hangs inCarol’s dressing room.

The second is Zulu Nyala, SouthAfrica. This is the sunrise from our bushcamp on a magical safari. The colors aretrue. Each morning, we would watchthe giraffes against the sunrise acrossthe rift valley. There are hippos in thepond at the bottom. You will find thepainting in the entry way of our home.

Neither of these paintings will everbe sold.

Do you have works that still moveyou? Are you willing to share?

Send me a jpeg of your paintingand I will publish the collection. It willbe a powerful display!

Editorial · Jeff WatersRon Stocke has volunteered to serve aCo-Chair, and we really appreciate that.The 2016 Open Exhibition will be heldat the Mercer View Gallery on MercerIsland. We also need a Chair and Co-Chair for the 2016 WaterworksExhibition. That will be a fun one, andwill be held at Tsuga Gallery in Bothell.

Our Publicity Chair, Sarah Love willnot be continuing with that position,and Fran Clapper has decided to resignas Juror Procurement. HospitalityChair, Sue Dehmlow has asked forsomeone who can fill in when she’s onvacation or has other obligations. Wealso need someone to help with theAudio/Video and a Grant Writer. If youare interested in any of these, or knowsomeone who might be, please let meknow, or get in contact with CharHaugen, Vice President.

In the meantime, paint when youcan as much as you can.

Shirley Jordan

ElectionsAt our meeting on May 26, we willbe voting on the election of officersfor the 2015/2016 term. TheNominating Committee would liketo submit the following slate forthe Board officers:

• President, Charlette Haugen

• Vice President, Theresa Goesling

• Treasurer, Peggy Meyers

• Recording Secretary, EvelynNorton

• Corresponding Secretary,Shirley Jordan

Additional nominations may besubmitted from members at themeeting.

Northwest Watercolor Society’s75th Diamond Anniversary Celebration,Convention and Gala EventsJuly 6 ~12, 2015 in Seattle, Washington

July 6–10 5-Day Workshops with Open jurors, Judy Morris and Alvaro Castagnet_____________________

July 10 Daniel Smith – our primary patron – hosts an Open House & Factory Tour_____________________

July 11 Artists Convention, Demos & Mini Workshops with 23 Leading Artists International Open Exhibition Artists’ Reception Gala Reception & Awards Banquet

_____________________ July 12 Casual Brunch at the Crowne Plaza-Seattle Plein Air Field Trips & Private Photography Tour of Seattle

To learn more about this anniversary celebration, sign up for workshops and events, and book a room at the Crowne Plaza-Seattle, please visit www.NWWS.org

“A Fluid Tradition: Northwest Watercolor Society… The First 75 Years” will be available in Spring, 2015. Purchases of this historical book can be made through our primary event sponsor – Daniel Smith Artists’ Materials – and bookstores everywhere.

“A Fluid Tradition: Northwest Watercolor Society... The First 75 Years” is also the title of the �rst exhibition to be hosted by the new Cascadia Art Museum in Edmonds, Washington. The opening reception for NWWS members and guests will be on Sunday, July 19, 2015.

75th Annual International Open ExhibitionJuly 1–September 30 – Washington State Convention Center

_____________________ Judy Morris Alvaro Castagnet Studio Workshop / Crowne Plaza-Seattle Plein Air Workshop / Downtown Seattle

75th Anniversary Open Exhibition & Diamond Gala Co-Chairs ~ Theresa Goesling & Cindy Briggs ~ Email: makeeverydayapainting@yahoo.com

May-June 2015· 5

from the Pacific Northwestsince 2004. Che finally closedthe doors of his gym, TeamEastside FC in Redmond in2013 after 10 years in order topaint full time.

Che also teachesWatercolor 101 and TeenDrawing and Painting at theKirkland Arts Center since2009 and teaches a privateTeen Portfolio Group. Che isa stay at home dad to hisbeautiful little girl Milagrosand calls that his real job.

Facebook Page: Art ofChe. 

May Program, Che Lopez | Continued from Page 1

GREAT NWWS ITEMS FORSALE AT MAY MEETING Logo up! The NWWS 75th committee is excited to offertwo quality items with our NWWS logo: a durable toteand a well sized apron. Not only will you be part of thebest-dressed art crowd celebrating our 75th, you’ll usethese pieces over and over. But why wait till July? We’llbegin sales at the May 26th meeting and you can avoidthe long lines later.

The roomy, soft-sided black & teal tote measures 13” x13” x 5” and provides a water bottle pocket, phonepocket, pencil pocket, and full side pocket. Easilycarries your supplies with room for your lunch orSnickers bars. Extra wide straps are comfortable andgood lengths for shoulder carry but not too long tohand carry.

We chose the apron for it’s long, 27” length, largepockets, adjustable neck, and wash ability. Made of 7.5oz cotton/poly blend, it has a stain release agent forthose leaning toward squeaky clean. The rest of you areat peace with your paint splatters.

A great value at $16.00 each (WSST is additional).Quantities are limited, so please bring checks or cash tothe May meeting and be ready for great paintings daysahead.

Vendor Room for the 75th The Carlsbad Room at the Crowne Plaza will be ourvendor room for the July 11th event. It will be open from 8AM to 5 PM. We already have several vendors on board.Daniel Smith will be there with a large, beautiful array ofDaniel Smith paints, papers, brushes and many other artproducts.

Christine Hanlon will demonstrate using Winsor &Newton Watercolours. Ann Breckon will show off her newline of watercolor palettes, mixing trays and mini- palettes.An Artful Touch will represent the Sumi Art products withspecialized paper, pencils and brushes. Blick Art Materialswill present more products to temp our never- endingquest for creating those masterpieces.

Ken Stodola from Tsuga Fine Art will be there to show ushow to more economically frame our finished work. RonStocke will show off the Graham and Aquabee lines. Wealso plan on having a few prize drawings as well. Therewill be more to come so be sure and stop by to see ourvendor room. Any vendor interested in a table pleasecontact Charlene Burley. charleneb@bauerevans.com.

6 · May-June 2015

By Sarah Love

Not every year is a diamond celebration. When there isone, the world needs to know. I met the co-chairs for theNWWS’s 75th Diamond Anniversary Celebration, TheresaGoesling and Cindy Briggs, at the end of 2013. They hadalready been planning the celebratory event for three yearsand I had recently become the PR Chair for NWWS. As theypacked up their supplies from a workshop they had just givenat Daniel Smith Artists’ Materials – our major sponsor for the75th celebration – we introduced ourselves and they told meabout the special events they had planned. Their enthusiasmwas contagious and I wanted to do everything I could tospread the word about the Diamond Celebration.

More than the biannual call for artists in Watercolor Artistand The Artist Magazine was needed. This event was going tobe spectacular and called for something special to reach theartistic world. The plan I presented to the board in early 2014was accepted. Working with Molly Murrah we created a pagead, “Save the Dates!” that ran in the March 2014 issue of ourown Hot Press.

AD PROGRAMThen Molly and I (with approval of the anniversary co-

chairs) created ads for Watercolor Artist and The Artist’sMagazine. The paid display ads began with a sixth page in theSeptember 2014 issues of each magazine. Two one-thirdpages and one half page were also created and placed inworkshop issues that gave us extra listings to post about thejurors’ workshops and the gala event. Look for the final halfpage ads in the June editions of each magazine. A way ofmeasuring the reach of the ads is to take the circulation of themagazine and multiply by the number of insertions. NWWS’sreach was over half a million!

ARTICLESI had the pleasure of interviewing Alvaro Castagnet and

Judy Morris, jurors for the 75th International Open Exhibitionthat will be at the Washington State Convention from July 1through September. Did you see “Spontaneity and PassionDrive Alvaro Castagnet’s Plein Air Workshops” in the Jan/Febissue of Hot Press? An article on Judy Morris coming full circleran in the Mar/Apr issue. Check it out. I’m signed up for herworkshop and expect it to be as fulfilling as talking to her was.A few places are still open; so sign up soon.

Four other past jurors of NWWS were also interviewed fora story on “How to Get into A Juried Art Show – Tips from SixWell-Known Jurors.” The wisdom, experience and generosityof Mark Mehaffey, Donna Zagotta, Thomas Schaller, CarlaO’Connor, Alvaro Castagnet and Judy Morris contributed tothis article that has been picked up by International Artist.The publication date is to be announced.

PR & SOCIAL MEDIASupplementing the paid advertising and the articles are

press releases. A press release went out in January for theKickstarter program that raised money for the 75th

retrospective art book. Not that the press release was thecause of reaching the goal but it did help in getting otherpublicity for NWWS with articles on past presidents living onCamano Island and Theresa Goesling’s studio on MercerIsland.

More press releases are planned. The next one is aboutthe 75th International Open Exhibition and the Artists’Reception on July 11th. Plus, each accepted artist received apress release format to adapt and send to their local media.

One way of measuring the worth of published PR is tocalculate the amount of space used for the item. If it werepaid advertising, what would it cost? Or what is theequivalent advertising value (EAV)? That number right nowis over $6500 and more is to come because more PR is on theschedule.

Nancy Axell has been very instrumental in tailoringarticles for the Mercer Island Reporter and various artorganizations like Women Painters of Washington. Alsohelping with PR is Tanya Lemma who’s contacting artsocieties around the Tacoma area and posting to variouswebsites.

Social media is involved, too, with regular postings byPeggy Stermer-Cox on Facebook and Renee St. Peter’spostings on Pinterest. Join in the conversations on both.

DIRECT MAILHave you seen the emails about the 75th workshops and

Call for Entries? Keep checking your in-box for more that willkeep you in the loop of what’s happening for the big gala.Thanks to Cheri Connell, the web wizard who makes thishappen.

Did you get the beautiful tri-fold mailer about the eventin your mailbox? It contains all the information you need onthe 75th – the mini-workshops on July 11th, the Artists’Reception at the Washington State Convention Center, theGala Awards Banquet afterward and the Sunday July 12thevents. A handy piece to hang on to.

WHAT CAN YOU DO TO SPREAD THE WORD?Register to attend the workshops, mini-workshops and

Gala Awards Banquet. It’s easy to do online atwww.NWWS.org. You can pick the complete package orchoose ala carte. The sooner the better because space islimited.

Tell your artist friends about the 75th events. Pass outflyers. A lovely flyer was created by Molly that’s very similarto the half page ad running in the art magazines. Pick upflyers at the May meeting (the last one until September) orcontact Molly at molly@mollymurrah.com for a PDF to printand hand out. Your spreading the word is greatlyappreciated.

Many people are working together to make the 75thDiamond Anniversary Celebration a success. Theresa andCindy have been working on it for five years. I’m happy I canbe of assistance this past year and a half to spread the word.

Spreading the Word About NWWS’ 75th

May-June 2015· 7

JWORKSHOP

510 2,01- 6YULY

MORRISYJUD

JWORKSHOP

A510 201- 6YULY

GNETAAST CAROVAL

11 2015YLYUJ

12 201YLYUJ

15

JWORKSHOP

A510 2,01- 6YUL

GNETAAST CAROVAL

11, 2015YLUJ

12, 201YLUJ

15

tssststiisArrtitcepReecep

y 11, 2015, 4: Jul

’ ass’ ontiion

.m. :30–6:30 p

GBGa

aBBanqG

y 11, Jul

ds rrds aara Aw walla Awaalteetuueanqqu

, 2015

siisggio Re egtto ReHow tion is done online egistraAll r

, click on orkshopsWts & envUnder Et i fd tt ill b diYY

tersstert y a e onl g.NWWS.orwww

ti aelebry Cersarnniviamond A the 75th Dd ti h

. ion linkt i h

y 11, 2015, 4: Jule ttaon SashingtW

om rF eo Sy 1 tJul2015 tings , 90 pain

t ernaAnnual IntExhibition will be

taon SashingtWthe housands o T. ertenC

ough ws thradeshotro se e te a chancvha

.m. y 11, :30 6:30 pertention Cenvone C

ember 30, epts for the 75th

pen tional Ot y a e on displa

tion envone Ctaending tt of people a

hout the summer will t orks of ar ee these w

Julwne orC

ix1113 S

6:00-7: with old 7:00-9:

of searen chick

k

, 2015 vilionatio Pattle / Pea Plaza-S

ttleea, Senuevth Ax

.m.00 p t , chaocial time – Se new ones d friends and mak

.m.00 p dsarwinner & A– D

ed usted salmon, almond cre on, takellingtegetable wn or v

f ll h 75 h h lid h

t infoeno our eved ttecou will be dirYYou will be dirour cho the page of yed and go toffer

ou must be logged in firsty o YYou will then be able t. m. tion foraistregr ead all instse r read all instrPlea

ailable vY BIRD PRICING aEARLLY BIRD PRICING aon-Members $175). N egistrinal r registrFFinal r

ala social & iamond Ged lunch, Dxbo

ead up on an rou ce ytion page wherma or. e hoic or the eer fegisto rant tou wIf y

w the links to see and folloou will then be able tyy.efulllyarrefulltions cuc tr ruc

y 1, 2015 (ae until M Members $145 – y 1, 2015tion deadline is Jul ly 1, 2015atrra

etsage ticker, bev banquet

t is n wha, entv he e

o the e links t

–

o se e te a chancvhaest wthorom the Nfr

o see th e the first tB, meet the tionseacr

y as itald Cmerthe Eer tfft. Athe festivitiese oss the stralk acrw

ono cttle teaPlaza-Sersar75th Anniv

d arwala Aand G

t a peek orks of ar ee these w.yocietolor ScertaWWat

hese outstanding y tists and enjo ar

enades e music ser liveption, ecr the r

wne oro the Ceet ttinue the n

tion elebray Crds Banquet

naertInG ASW

our spociting xe

the 75t y MudJ

wne orC

w of all the 75th t the slide sho a. iestrpen Exhibition entional Oa

GSG BA om t supplies fr full of araniel Smith, plus other , D onsor r, D

isesprg sur

, orspen jurtional Onaert th Innetastago Carvlis and Ar Mor

o ttle go teae Plaza S

the banquet .d

ao St taytto Ste herre WWherttleeawne Plaza-SorC

e t une 5th whery Joom bour rook yBe isteg. Retaed rtounNWWS 75th disc

sytaome SH

all 360-65om or chaggman@msn.c

ay, e heldtion arenvonorkshops and c the w

ough er thr g.NWWS.orwww . ooms arR

56-5758.

and get the .edd.e limit teds ar re limit

d arwala Aand G

eing and diror parkFc.wscwwttp://wh

tionsecdir

. wne ds Banquet

tions visit –ecing-om/park.cc

orCttp://h

elshoteldhot

o –ttle go teae Plaza-Swneplaza/oom/cr.c.ihgww/w

ttle/seadt/s/us/en/seationsecdir-detail#map

y o aciouslre gMembers of NWWS arotonna Ball Dtion cormaor infF

t of th y paror additional help on an ny parFFor additional help on aniindy Br riggsesling or C Cindy Broesa Gher, T Therhairss, TCChairs

ofe with out-o shar pening their homes tt 206-463-2952.en at

t one of t ontac, cesss, ccotion pr roaegistr he r registrahainting@yyAPyDaayAPerryDaveEt Mak keE, aiggss, a

. wnersof-t

w the shoom.coo.cho

8 · May-June 2015

stiisArrtiest wthorhe NT

iamond A75th D

en’ Convtss’ Convsstses yvity inocietolor ScertaW

om th . Choose fryersar Annivl h i l d l

on ~ ntiion ~ Y JULLY 10-12, 2015end eeko an inspiring wou t yt i age thae packomplet he c

d b i k l

10-12, 2015e the taelebro cts tenvd of e

orkshop includes the mini w f i h i h

e , ps

f

5 00 8 00 t

wlunch, social and gala aage pricin d packarly BirE

aouse & Fpen Hmith Oaniel SDendor t v, plus selecnetastago CarvlA

d RVti d i t R

ads banquet or pick a la carwy 1st! Go online ta g ends M

or N y fte parclusivour – ExTy ortaction w taanspor. Special trerstesens and pr

t the Cention avNWWS Conl b d R / C R iR

t fe right are options thatart o sign up a .NWWS.orwww

.endeestt NWWS a taw wind out hoFeawne Plaza-Sorom the Cou fre y will tak

ttleeawne Plaza-Sro C f i i f f ll dd d

. ou yor y f for ygor

, ors. Meet the jure madets arolor paincer. yorto the facttle ta wnos paint the t’’s etL

i k di h h i F

is and ry Morud, Jn!

k

o 5:00 8:00 a.m. to yerv. Eand name tags

, bags an onsspecial apr

.m. p endor RVtion and egistra – Room beendor RVo visit our ed tvitone is in

nd certaest W Wawthoradition: Nrradition: Nluid T TrA F Fluid T

ig B BemD

oom.arlsbad Room open / C R iegRo se orkshops ter wteen and af ftw, bete efor

earsirst 75 Y Years…the F First 75 Yyiettycoolor Sccolor S e, the r

onnorC’git OirBalslorralstic F Florama Bold Dr ramaeturection / Lamonstr

ahMolly Murr

ay of inspiry for a full daeader and get rst, get samples and perhaps win door prtsoduc ee new pr

ful and illuolore book on the ctivospecetr

, pick up yederisteg-reor those who prtion. Falso check out the NWWS table for . Aesiz ps win door pr

y of NWWS.orious hist ustr

onnorC’arla OCe Design in Gouigurre Design in GouFFigur

ection / LaemonstrD

ind oesling & Cesa GherT

ets our pack up y WWS table for

ache ueturc

riggsy B

orking WWorking WemD

Ruth Aain GGaining Exposur

emD

essfuceucccSaPPaint

ahMolly Murrgesal Imaour Digit tal Imaith Y Your Digit W With Y

eturection / Lamonstr

olvyTTylenda rmitage & B Ae Onlinening Exposur re Online

eturection / Lamonstr

emleyeanne LDchesetom Sk ketorking fr rom Sky W Working frullly W

tionaoccaed on Laintted on L

g eacel! T Teach!avvel! Trravaint! T TrPPaint! T

’l etting Up Intets of Srrets of SeccrStiaduce / EtivormaInf

ysoalindo DKristi Gtion & aenttaeseprresy Rallerry RGGaller

tiaduce / EtivormaInf

arnesy BaKo co errctaent W Waanspare rransparTTr

tmospheric Glazed and Aerred and AayyerL

ggy ch!

orkshops W Workshopsional

onamingrraming & F Fr

ional

olor –esric Glaz

our luPick up y your lunchbo

esturecunch & LL. o 12:15 p p.m. (om 11:40 a.m. t to 12:15 px fr rom 11:40 a.m. t unchbo ox fr

aPPaintemD

ainting PPainting the Shapes of ShadoemonstrD

egetarian)ey or V Vegetarian)kkey or VurrkTTurm. (

tionaoccaed on Laintted on Leturection / Lamonstr

oneckrnn BAwsg the Shapes of Shado

orkshopWon tion / Hands-ar

eslie RedheadLoouring Liquid C ColorPPouring Liquid C

tmospheric Glazed and Aerred and AayyerLtionaemonstrD

eocktRon St a Glaolor aco errctteraWWa

tionaemonstrD

olor

esric Glaz

e anc e

our luPick up y your lunchbo

Critique of b it (S

. o 12:15 p p.m. (om 11:40 a.m. t to 12:15 px fr rom 11:40 a.m. t unchbo ox fr

he Origi TThe Original is Onl, Rtunitiess, ROpporP

udy MorrisJerasttery a Mainting b by a Mour P Painting b f Y Your P

$10) f ftiti i ti f

egetarian)ey or V Vegetarian)kkey or VurrkTTurm. (

tnerory Pf foraRep:irst St tep:he F First Sty T The F inal is Onl ly T

al Ageesponsilities in the Digit tal Ageights & R R Rights & Returection/Ltaesenr

astagneto CarlvAy tful Urban Cit ty SImpac

tionaemonstrD

on tion / Hands-aemonstrD

oshidaois Y YoshidaLaintingumi P PaintingS

on tion / Hands-aemonstrD

tenesce S

orkshopWn

orkshopWn

our ubmit y your painting f(S

he TThe Aeting arkketing HMa

olorcoerrctteraWWa

ee $10)a f fee $10)trra fitique – exrritique – exor a cr painting f for a c

darlwJoe Eork: tist and the W Work: rt A

al Ageo in the Digit tal Agew T To in the Digitog He / Q&AtivormaInfforma

illtherine GaCezzeiple of Oo ozt Up! Princ ciple of Oo: Mix Irr: Mix I

tionaemonstrD

tionaemonstrD

zopehe LCetteraait / W Watrrait / Worainting the P PorPPainting the P

ee $10)del F Fee $10)(Mo

on tion / Hands-aemonstrD

lLinda Rothchild Oe orre & Aonger Design: Bef forStrronger Design: Bef

or design cour painting f for design cubmit y your painting f(S

eturecritique / LC

olor Sticksccolor Stickserrc

orkshopWn

llisertterffte & A

itique)rritique) n c

e

etaWWaemonstrD

hristine HanlonCe & Simpleurre & Simpleolor P Purco errc

orkshop Won tion / Hands-ar

endo Voom ’ Rendorsisit the V VendorsVVisit the V

oomarlsbad Rors – C.mo 5:00 p p.m.om 8:00 a.m. t to 5:00 pm – Open fr rom 8:00 a.m. t

m.

May-June 2015· 9

NW .m. 4:30–6:30 pBan .m. 6:00–7:00 p

ach EEach ain D.m . 7:00–9:00 p

’tistspen Exhibition ArWWS 75th Owne Plaza-Sort the Cocial anquet S

y an endee will enjo oy an tth a ar SS St tar SNWWWS Stds Banquet / arwala Anner and G In

eception R’’ R e ttaon SashingtWt the avillion.atio Pattle Pea -S , aprinks D

ag Bawwa S om Daniel Sti supplies fr full of argtries pen Exhibition entional Oernatn

ertention Cenvone Ce musicers and liv ppetiz

ialserrialst’ Matistsrmith A aniel Sw slide sho

8:30–

ormal Brunch (RSNWWS Infttl eawne Plaza-Sor–11:00 a.m. — C

Plein H

) SVParkside Roome P

erwoephanie BtSyching the Cit tyettching the Citir Sk ketn A

orkshopon WHands-

erstaJeff Wain ir P Paint Ottle Plein AeaS

ing minimal supplies)(Brri

orkshoon WHands-

ourser T ToursShuttttle eaour of So T Tour of SPhotto T

y aphogrPhot’tistsrA

utnt O s)

op

Sightsour T

ronttronaatPPaA special thanks t

or thei erials ftaMNWWS through th merchandise and

ent with do this e

orddorsd Ven nds an nd Vennns an’tistsmith Araniel So D

or t f ir amazing suppor heir contribution of

t e couldn’ t . Wardswwa aou! hout y y

t S

tion on e ormaor more infF

ota ArakDs A’Cheap Joe

iolumbia WCta e CativeaCr

wnealer-RoD

rs tro

tist bios and t, arorkshop each w

o our pa... touThank Y Youor our 75th Dchandise f o mer

tional ernat75th Annual Inesor St

t Stuff Aryiner

, Inctionsoducralyst Pye

Ja JJJ M

traord

o , go tentvor this eer f for this eo regist t

xxtraordinaror their e exendors f for their eons and v vendors ftion a aelebry Cersariamond Anniv D

pen Exhibition. O., Inc.oicheson & Cack R

ehousearWupply t Sama/Artars Ar’yerrggyre Tcyo

udy MorrisC LLtingainy A Pay Derve EakM

y!

.NWWS.orgwww

y generosit ty!rdinarry generosit v oe prvy haheTarwash and aer $15,000 in cv and o

VENDORS…ouchtful T TArAn

olorscertaon WeckBrAnn .oaham & Cquabee / M. GrAtionoduct Reprine Arvue FelleB

vided or the ds f r

ent with vdo this e

TRONSAATRONSP …ameran FAmericompanasel Ctist EArt and CArmadillo Ar

tsman Saftist & CrAr

ou! hout y y

yntaf Cr

upply S

mith aniel SDademcage AG

Grumbachertis Golden Ar

olbein IHK Htiona ernatInomhotfriprin

yerialstatist Mh Ar

ty of Armr

olorsst C Inc.

agazinetist Mal Arom.come

MMRSSST

C, LLtingainy A Pay Derve EakM.oeber CW. tin FarM

oturing Canufacal Brush MyRo, Inctionalernatalis InS

t Museumttle AreaSapertist Pe ArthmoraStr

tulalip Casino & ResorT

tionoduct Reprine Arvue FelleBom tusa.colarC

erialstat Mick Blick ArDoupHamlin Grolutionse StivenInc

er USAtenting CrinPamingrt & Fine Arsuga FTTsuga F

Molly Murrah

Working With Your Digital ImagesWorkshop Description:If you’ve ever had trouble figuring out how to present yourartwork electronically or size and submit images according toexhibition guidelines, Molly Murrah’s workshop is for you.Information on what digital images are – how they work; how todo simple image corrections; how to crop and resize your images;and how best to store your files – will be included. Varioussoftware applications for working with your images will also bediscussed. After this workshop, you will have the basic knowledgeon how to create the digital images you need, and handouts willbe provided. Leave your frustration behind and join Molly for a funand informative workshop!

About Molly Murrah:Molly Murrah is an experiencedgraphic designer, watercolor artist,Signature Member and pastPresident of Northwest WatercolorSociety. She has been working withdigital media and electronic filessince buying her first Mac in themid-1980s. As a graphic designershe has specialized in integratedmarketing programs includingcorporate identity, advertising andsales promotion campaigns, andnon-profit fundraising. She has alsodesigned over 40 children’s books.

As a watercolor artist, she has studied with internationally knownartists/instructors, has had several solo exhibitions, and teachesongoing watercolor classes in the Puget Sound area. Continuingto work as both a designer and an artist, Molly finds the balancebetween the two very fulfilling and always engaging.

Molly’s artwork can be seen on her website:www.mollymurrah.com

10 · May-June 2015

Ray Pfortner

The Original Is Only the First Step:Opportunities, Rights and Responsibilities inthe Digital AgeWorkshop Description:Whether your art business is part- or full-time or even just atwinkle in your eye, your original is only the starting point. Thedigital age offers enormous opportunities to do so much morewith and make much more from your art. It offers a chance tomake your art sustainable – and to make more art as a result. Youwill learn how to: • Transform your art into a digital format; • Re-purpose your art through merchandising; • Price your products; and most importantly • License your art to a myriad of customers from magazines

to card and puzzle companies to advertising agencies.

Explore copyright, model releases and tax ramifications – and howto spread your work across the internet.

About Ray Pfortner:Ray Pfortner has been working inprofessional photography for over25 years – as educator, agent, editor,book consultant, and photographer.His own photography, whichfocuses on nature andenvironmental issues, is representedby Getty Images. His images areoften used to support habitatconservation.

He teaches the business of art andphotography for colleges, artschools, arts centers, the Artist Trust,

the City of Seattle, and artist stores around Puget Sound. Hisprimary interest is in coaching new talent. His hope is to empowerartists to do more with their art, to make their art sustainable, andin doing so to make more art.

In 2008 Bellevue College awarded Ray its Margin of ExcellenceAward, nominated by his students. The North American NaturePhotography Association presented him with its 2006 RecognitionAward for making a difference with his photography and its 2003Fellow Award for career contributions to nature photography.

Ray’s work can be seen on his website: www.raypfortner.com

In each Hot Press through the May/June issue, NWWS will be featuring professionals who willpresent mini workshops during our 75th Convention July 11 and 12, 2015

75th Diamond Anniversary Convention

May-June 2015· 11

Jeff Waters

Seattle Plein Air Paint OutWorkshop Description:Join Hot Press editor, Jeff Waters – experienced plein air painter –on a paint out excursion in Seattle for two hours of paintingenjoyment. Bring minimal supplies, your camera, and yourenthusiasm. We will meet at the hotel at 11:00 am.

About Jeff Waters:Jeff Waters has been painting forten years. He is active in theEvergreen Association of Fine Arts,and is past president and currentnewsletter editor for the NorthwestWatercolor Society. He was selectedto paint the official portraits of thenew Snoqualmie City Hall and thenew Snoqualmie CommunityCenter. He teaches for theMetropolitan Park District andBellevue College.

Jeff loves to travel and often goeson “walkabout” throughout the southwest or across the country,stopping to paint whatever catches his eye. He has traveled tomany foreign countries and has enjoyed painting tours of Europewith his wife, Carol.

Jeff can be reached by email at jeffrey.waters@comcast.net

Shutter Tours

NWWS Custom Photo Tour in DowntownSeattleWorkshop Description:This 4-hour tour will include the Pike Place Market, the longestcontinuously running public market in the United States. Withover 100 years of history and tradition, the fishmongers andflower vendors will be a great source of ideas for your paintings.Next we will experience Pioneer Square, the second oldestneighborhood in Seattle. This multi block area will be a greatsource of inspiration from Tlingit Totem Poles, to a beautifulVictorian Pergola built in 1909, to the Richardsonian Romanesqueilding built in the late 19th century. As we drive along thewaterfront, you’ll see the wonderful view of Puget Sound with itsmaritime traffic and have an optional stop at the Seattle ArtMuseums Sculpture Park. Finally our last stop will be the mostphotographed viewpoint in Seattle, Kerry Park.

About Shutter Tours:Shutter Tours is a company “focused” on creating a great travelexperience, as well as helping our guests become better travelphotographers. Founded by passionate photographers in 2009,Shutter Tours has been awarded the Certificate of Excellence thepast three years on Tripadvisor.com. This rating ensures youShutter Tours is a company in the top-performing 10% of allbusinesses worldwide for consistently earning high ratings fromTripAdvisor travelers. Currently ranked the #1 scenic tour inSeattle, your day with us will be one that you will not soon forgetas we share not only great photography opportunities, but weavea historical narrative into the tour so you have a clearunderstanding of the history and culture of Seattle. 

For more information and to sign up for this tour, please visit:https://my.getinsellout.com/providers/shutter-tours/skus/private-northwest-watercolor-society-75th-celebration-tour/info

Ron Stocke

Watercolor at a GlanceWorkshop Description:Ron Stocke will demonstrate his exciting “watercolor at a glance”technique. He will show how he connects figures and smallshapes to larger shapes within the painting so they look moreconnected and natural, and how to incorporate a strong abstractarea that supports your focal point. He will discuss using designelements to strengthen your paintings, and then pull the paintingtogether with the finishing touches. Finally, Ron will discuss howto know when to stop… a challenge every artist has faced whilepainting.

About Ron Stocke:Ron Stocke is an award winningwatercolorist who holds severalmemberships in AWS, NWS, NWWS,PSG and CSPWC. His work has beenpublished in Northlight books andWatercolor Artist magazine. Ron hasbecome a well-respected paintinginstructor due to his painting styleand hands on instruction. He ispassionate about his medium, histools and his future as an artist. “Ibelieve travel and drawing are thebest things an artist can do to grow.Paint simple yet live big”.

Ron’s work can be viewed on his website: www.ronstocke.com

Stephanie Bower

Sketching the CityWorkshop Description:With a quick review of perspective basics, we’ll go over how tosketch basic shapes of buildings and spaces, then develop thoseshapes by adding detail, activity, life, and of course, quickwatercolor!

About Stephanie Bower:Trained as an Architect, Stephaniehas been working as anarchitectural illustrator andteaching perspective sketching anddrawing for over 25 years in NewYork City and Seattle. She washonored with the Best Travel Sketchaward in the International KRobcompetition in both 2012 and2013, the national 2013 GabrielPrize in Architecture to Paris and the2014 NIAUSI travel fellowship toItaly.  

A blog correspondent for Seattle Urban Sketchers, Stephanie alsoteaches sketching workshops in Italy and Seattle, and at the 2014Urban Sketchers International Symposium in Brazil.

For more information and to see Stephanie’s work, visit herwebsite: www.stephaniebower.com

You can also visit her blog: www.stephaniebower.blogspot.com

12 · May-June 2015

By Sarah LoveHave you been painting away, going

to workshops to learn how to paintbetter and wondering if you’ll ever bebrave enough to enter a juried show? Oryou’ve already entered a show withoutresults and want to know what you cando to better the outcome?

As a novice watercolor artist I waswondering the same. With theencouragement from members of theNorthwest Watercolor Society (NWWS),which is celebrating its 75th DiamondAnniversary this July, I interviewed fourformer jurors of their AnnualInternational Open Exhibitions and twojurors who will be jurying the 75th –Thomas Schaller, Carla O’Connor, MarkMehaffey, Donna Zagotta, Judy Morrisand Alvaro Castagnet.

I discovered that all six of theseamazing artists have a deepunderstanding and reverence for artand a willingness to help others alongthe way – no matter where they are intheir art journey. All are teachers andoffer their expertise from both sides, asan entrant and as a juror.

Thomas Schaller, an architecturalartist for 20 years says, “I thought thatentering juried shows might dilute myinterest in art – or even the quality ofmy work - if I were to become obsessedwith the competition for awards ortrying to please a juror. I was 100%wrong!” he humbly found out. “Byentering shows, I became a betterpainter.” Tom has a collection ofrejection letters. “Enjoy your rejections.You’re not going to get into every show.Sometimes it’s the luck of the draw.There’s always another show.” Tom has,however, won many awards and honors.

When Carla O’Connor started toteach workshops, she felt she neededcredentials after her name to get hired.She went about entering shows in abusiness-like manner by starting locally,then regionally, and finally nationally.“Every time you enter, you move up theladder. With each step your work starts

to become recognizable. Challengeyourself along the way. You’re buildinga whole work of qualification.” Carla gother credentials plus many nationalawards and is now an AWS DolphinFellow.

PhotographyAfter you’ve read the prospectus for

the show you want to enter, hiresomeone to get the best digital imagepossible, recommends Mark Mehaffey,who has been teaching painting for 46years, 30 of which were in publicschools. “[Photography] that matchesyour painting. Project it on the wall tosee what the judges will see.”

Carla O’Connor agrees. “I forego alot of other things to pay aphotographer. There’s nothing worsethan seeing grass growing up at thebottom of the painting or a fireplacebehind, or fingers or bad lighting.Because that says to me the artistdoesn’t even respect their own workwell enough to give it the best possiblepresentation that they can afford. Stopeating steak and get a goodphotographer.”

Something to think about, smartphone users.

Enter Your Best WorkYou can try to figure out what a

juror wants to see or paint like the jurorbut that would be a mistake. “Enteryour best work,” says Mehaffey. “Don’tsecond guess judges.” “I don’t expectpeople to paint the way I do,” addsSchaller. “Paint your thing; paint yourjoy.”

As a professional artist for morethan 20 years who has won manyawards, Donna Zagotta looks forsomething unique. “I want to see theartist’s personality in the painting. I’mlooking for something that is about theartist and not the subject.”

Alvaro Castagnet, who will beteaching a plein air workshop for theNWWS 75th Diamond AnniversaryCelebration and is a co-juror of the 75th

Annual International Open Exhibition,wants to see paintings of daring,adventure; paintings with integrity,paintings with confidence and authority– being oneself, not being somebodyelse. “I love to see naïveté instead ofbeing smart.”

“The main thing is getting thejuror’s attention. Submit something youlove and are proud of,” advises JudyMorris. Judy has been teachingprofessionally for 48 years, 30 years inthe public schools and will be teachinga five-day workshop at the NWWS 75thDiamond Anniversary celebration andwill also co-juror for NWWS’s 75thAnnual International Open Exhibition.

The Judging ProcessJurors have hundreds of photos to

go through when judging a show andthey view the photos several times overa period of time before making anyselections. Those paintings that areunique or ones that grab the juror’sattention will make the first cut.

“The thing that matters most at firstglance is the value of the painting.There’s something that captures yourattention and makes you want to look atthat painting longer,” says Morris.

Once you have the juror’s attention,does your design/composition enforcethat connection? The technique ortechnical skills that you’ve used follow,along with the risk you’ve taken in yourwork. And the juror’s number ofselections grows smaller.

Most jurors like to have a well-rounded show. If 14 sunflowers havebeen submitted but the juror wants onlyroom for two or three florals, they aregoing to pick the one that ‘speaks’ theloudest to them or the one they connectto the most. That doesn’t mean that theother 11 or 12 aren’t good or aren’t wellexecuted. It means the juror could onlypick a few. Another reason not to giveup on entering shows.

HOW TO GET INTO A JURIED ART SHOWTips from Six Well-Known Jurors

Continued on next page

May-June 2015· 13

The Award ProcessWhen jurors are ready to pick the

award winners and they see thepaintings live, up close and personal atthe hanging, they all start to look for theWOW factor or AWE factor. There’s astory that comes through the painting.The WOW factor doesn’t have to hit youlike a sledgehammer. It can be anindescribable spark or unnamedsubtlety.

Other things jurors look for:

• Interesting surface treatment

• A surprise element

• The juror says to himself (herself), Iwished I’d done that.

• A finished work of art

“It’s less about competition andmore about sharing thatcommunication between two people ormore,” adds Mehaffey.

You can ask yourself what’s uniqueabout your painting or even put itbefore a critique group for feedback.Does your painting have a voice? Whatdoes it communicate? Is it work thatyou’re proud of?

So beginners, myself included, getyour “brush miles” as Mehaffey wouldsay. Develop your skills to have a visualvoice and show up and do the work. I’mready.

How to Get Into a Juried ShowContinued from Page 12 Workshop/Convention Home Stays

for Out-of-town guestsNWWS would like to offer workshop participants and convention

attendees, from out of town a place to stay in the Seattle area, whilethey are here for the Judy Morris or Alvaro Castagnet workshops July 6 -10 and/or the convention over the July 10 – 12 weekend. 

For those of you who have extra room in your Seattle area homes,we are hoping you might consider hosting one, two or three people -it’s a wonderful way to get to know other artists and make newfriends.  Plus the benefit of carpooling into Seattle will save time andmoney.  

If you are willing to open your home or are one of those peoplewho need a place to stay, please contact Lynn Coyle atlynnsuncatcher@aol.com or call her at home: 425-453-1861 or try hercell: 425-749-2677.  If you are sharing your home, please confirm youraccommodation availability , how many beds, private or sharedbathroom, address and phone number.  If you are in need of a place tostay, please let Lynn know your arrival and departure dates and if youhave any special needs.  

Help make the NWWS 75th a great experience for everyone whowants to join us here in Seattle

A huge thank you to Watercolor Artist magazine forproviding the pdf file of the great article on perspective.

Back issues of Watercolor Artist may be purchased athttp://www.northlightshop.com/art-magazines/

watercolor-artist/?lid=JCwcaac040815.

Linear perspective may sound terribly techni-cal and not something a watercolorist needs or even wants to deal with, but I can assure you

that a thorough understanding of the principles of perspective will allow you to draw and paint with more accuracy and confidence. Linear perspective is what enables us to depict three-dimensional space accurately on a two-dimensional surface. You might say, “But I simply draw what’s in front of me and

the perspective takes care of itself.” How often, though, do you find a subject where everything is perfect, where nothing needs to be changed, added or subtracted? Having a working knowledge of per-spective will ensure accuracy as you’re designing your composition. In addition, many studio artists rely heavily on photo references, as I do, and understand-ing perspective will make interpreting and creatively using your photography infinitely easier.

Lumberville (watercolor on paper, 111/4x261/2)

WATERCOLORESSENTIALS

How to Build a Better Painting Vol. II, Part III

Putting It in PerspectiveBy Donald W. Patterson

J U N E 2 0 0 6 www.watercolormagic.com 19

�

One-Point PerspectiveOne-point perspective simply means objects are on one plane, square to the picture plane, and only those lines moving away from you converge to the vanishing point. The rest are either horizontal, vertical or diagonal lines.

Draw a Box in One-Point Perspective 1. Draw a horizon line and a square.

2. Select a vanishing point and draw the vanishing lines to form the top and side planes. Draw a vertical line indicating the length of the side plane.

3. Draw a horizontal line where the vertical line intersects the top van-ishing line.

4. Erase the vanishing lines. You now have a box in linear, one-point per-spective.

Dividing Planes EquallyBeing able to divide a plane equally will allow you to place items, such as windows on a house, fl oor tiles or even furniture, in perspective. A rectangular plane, square to the picture plane and in perspective, can be divided into equal parts by the following method: Draw a diagonal line connecting each pair of opposite corners and then use horizon-tal, vertical or vanishing lines to fi nd the center of each side.

Diagonal Line Method Draw a horizon line with a vanishing point. Then draw the front edge of a rectangular shape and divide it into equal parts. Next, draw a horizontal line to locate the back edge of the plane. Then draw a diagonal line from the left, front corner to the back, right corner. Where the diagonal line intersects the vanishing lines, draw horizontal lines. This method will work equally well for a vertical plane.

Horizon LineVanishing

Point

Watercolor Essentials: Perspective

20 Watercolor Magic J U N E 2 0 0 6

1

Vanishing Point

3

4

Horizon LineVanishing Line

Vanishing Line

Vanishing Line

2

I relied on perspective to place the trees and fence accurately in Oley Valley (watercolor on paper, 131/2x28).

Spacing Lines for Trees, Fence Posts & More First, draw the horizon line with a vanishing point. Then draw the fi rst vertical line wherever

you want to start. (I started at the far left.) Draw vanishing lines from the top and base of the fi rst vertical line to the vanishing point. Draw a center line from the middle

of the fi rst vertical line to the vanishing point. Draw the second vertical line where you want it to be, using the vanishing lines as a guide for the

top and bottom of the line. Then draw a diagonal line from the base of Line 1 through the center line intersection

of Line 2. Where the diagonal touches the top vanishing line is the location for Line 3.

Repeat as necessary.

Top Vanishing Line

Horizon Line

Vanishing Point

Bottom Vanishing Line

Line

1

Center Line

Line

2

Circles in PerspectiveDrawing circles in perspective is accomplished by fi rst draw-ing a square plane in perspective. Draw diagonal lines to opposite corners of the square to fi nd the center. Then draw either horizon-tal or vertical lines through the center, parallel with two sides of the square. Draw a vanishing line through the center when the sides are in perspective. Connect the center points of each side with four curved lines. The result is an ellipse (a circle in perspective).

�

J U N E 2 0 0 6 www.watercolormagic.com 21

Line

3

First, draw the horizon line with a vanishing point. Then draw the fi

you want to start. (I started at the far left.) Draw vanishing lines from the top and base of the fi

of the fi

top and bottom of the line. Then draw a diagonal line from the base of Line 1 through the center line intersection

of Line 2. Where the diagonal touches the top

Watercolor Essentials: Perspective

22 Watercolor Magic J U N E 2 0 0 6

Good Morning, New Hope (water-color on paper, 19x27)

Draw a Box in Two-Point Perspective 1. Start by draw-ing the horizon line with two vanishing points. Below the horizon line and between the vanishing points, draw the leading edge of the box. From the top and bottom of the leading edge, draw vanishing lines to both vanishing points. Draw one vertical line left and one right to describe the width of both the left and right sides.

2. Draw vanishing lines where the left and right rear ver-tical lines touch the top vanishing lines. The box is now complete.

Divide an Area into Equal Parts in Two-Point Perspective The method for drawing in two-point perspective is basically the same as for one-point perspective. However, instead of measuring along the front plane of an area or object, you measure along what is now called the "ground line," because the front edge is no longer square to the picture plane. Draw the ground line and divide it into equal parts. Using two vanishing points (in this instance the vanishing points are too far away to include in the illustration), you can now determine the desired size of the area you want and divide it into equal parts.

Two-Point PerspectiveIn two-point perspective an object is turned at an angle, creating two vanishing points. As you can see in Good Morning, New Hope (bottom), the buildings have two vanishing points.

Ground Line

J U N E 2 0 0 6 www.watercolormagic.com 23

The Basics of Linear PerspectiveThe basic principles of linear perspective are

not all that complicated. Here’s a list of the

most frequently used terms:

Horizon line: Outdoors, the horizon line

represents the actual horizon, where sky and

land meet. If the horizon is not visible, then it

becomes the viewer’s eye level.

Vanishing point: The spot on the horizon line

or the line at eye level that vanishing lines

converge to.

Vanishing lines: Lines drawn from points

on an object to the vanishing point(s) on the

horizon line.

Picture plane: If you look through a view-

fi nder or camera lens to compose a picture,

what you see within the frame is called the

picture plane. Likewise, your drawing on the

surface of the paper is the picture plane.

In terms of linear perspective, you might

describe a roadway as receding from the

picture plane.

Construct a Building1. First, draw the horizon line and select two

vanishing points. Then position the lead-ing edge of the building. Add vanishing lines to both vanishing points from the base and top of the leading edge.

2. Draw vertical lines to establish the length and width of the building. Draw vanish-ing lines to delineate the opposite end and other side of the building. Draw another vertical line through the intersecting (dashed) vanishing lines to locate the far, rear corner.

3. Next, draw diagonal lines from corner to corner on both ends of the building to fi nd their centers. Draw a vertical line on the near end of the building through the intersection of the diagonals to the desired height of the roof. Draw lines from the roof peak diagonal to the left and right top corners of the building.

4. Draw a vanishing line from the roof peak to the left vanishing point to delineate the top roof line (A). Draw a vertical line (B) intersecting the diagonals on the far end of the building to the roof peak vanishing line. Connect the top, far point of the roof to the back, far corner of the top of the building (C).

5. Having the entire shape of the building in correct perspective now allows you to proceed, using the same aforementioned meth-ods to locate all the windows, doors, siding, chimneys, etc., in perfect perspective.

A

BC

Lead

ing

Ed

ge

Vanishing Line

Horizon Line

Vanishing Line

�

Watercolor Essentials: Perspective

24 Watercolor Magic J U N E 2 0 0 6

Figures in PerspectiveWhen inserting fi gures into a composition, linear perspective can be of tremendous help. Before I took the fi rst reference photo for my painting AMorning Walk, I knew it was a perfect setting for some fi gures. Because this scene consists of all organic matter, with nothing mechanical to refer-ence, I decided that one-point perspective would suffi ce. I simply used my own estimated eye level to determine the horizon line and, since I knew the vanishing point was directly opposite where I was focusing, I estimated the spot where my feet would be. I drew a vanishing line from that spot up to the horizon line. Placing the feet of the two fi gures anywhere alongside of the vanishing line would automatically determine their height.

The cyclists shown in my painting Another Perfect Day weren’t in my original reference photo of the barn scene. By using linear perspective, however, I was able to insert them using proper perspective and scale. I began by using the stonework and angle of the siding to determine the eye-level line. Using the mailbox as a comparison for size, I drew a vertical line next toit to determine the approximate height of the cyclists. I then drew a vanishing line from the bottom of the vertical line, using the barn to estimate the correct angle, out to where I wanted the cyclists aligned. I then drew another vanishing line, following the direction of the road, to the eye-level line. Thus, establishing a vanishing point for the cyclists. By drawing a vanishing line from the top of the second vertical line to the vanishing point, it then became a simple matter to place the cyclists at any location along the vanishing lines, so long as from top to bottom they stayed inside and touching the lines.

Vanishing Point

Foot Level

Eye Level

J U N E 2 0 0 6 www.watercolormagic.com 25

Mus

ée d

es B

eaux

-Art

s, R

ouen

, Fra

nce.

Pho

to c

red

it: G

irau

don

/ A

rt R

esou

rce,

NY.

Remember that 100 percent accuracy in terms of scale is not necessar-ily a requirement, or at times even possible without knowing the exact size of objects, fi gures, trees or slope of the ground. But you can be assured that because of your understanding of linear perspective, all of the elements in your paintings can be reasonably portrayed and that’s what matters.

Donald W. Patterson is an internationally recog-nized watercolorist who has exhibited in museums and galleries across the United States, Japan and Canada. He’s a member of the American, National, Pennsylvania and Philadelphia Watercolor Societies. He lives in New Hope, Pennsylvania, and is repre-sented by Travis Gallery (New Hope) and The Snow Goose Gallery (Bethlehem, Pennsylvania). To see more of his work, visit www.travisgallery.com.

Master Draftsman Study of a Roman Temple (year unknown; watercolor on paper) by Georges Chedanne reveals an artist that was well versed in the principles of linear perspective. Built on his knowledge and ability to draw in accurate linear perspective, Chedanne’s rendering of the temple is wonderfully convincing. I call your attention to the two figures on the lower level. Notice how they are also in proper perspective and you truly get the feeling of peering down at them.

�

May-June 2015· 21

May-June Editor’s Contest –Paint a Tugboat Editor’s Contest

Sometimesyour bestsubject mattercomes fromnewspaperstories. Hereis a painting Idid after afishing boatcaptain fell asleep and ran his vesselashore in Oregon. Select a story and paintyour interpretation of the event. Send meyour effort. Jeffrey.waters@comcast.net.

Member NewsPeggy Stermer-Cox – 4th Place awardfor Old School, New School at theWatercolor Society of Oregon Spring2015 Experimental Exhibition.

CharleneCollinsFreeman has aone womanwatercolorexhibit hosted bythe WomenPainters ofWashington. Theexhibit, titled“BeautyEverywhere,” will

be on display from May 2 to June 26,2015. Macy’s Skybridge Gallery, 16013rd Avenue, Seattle, WA 98181.Admittance to the gallery is free andopen to the public. She will also have asolo watercolor exhibit at Tsuga Fine Art& Framing. September 18 - October 24,2015. 10101 Main Street, Bothell, WA98011. 425.483.7385.

Ron Stocke’s painting Gameday,Safeco Field has just earned Ronsignature membership status from theAmerican Watercolor Society. He ishonored to be involved with such ahistoric and prestigious society. Theshow is currently on exhibit at theSalmagundi Art Club in New York Cityuntil the end of April. So if you are inthe Big Apple, stop in and take a look atsome incredible artwork. Ron’s paintingof the Pergola in downtown Seattle isthe cover of Watercolor Artist magazine.A step-by-step of the painting is inside.

Ron Stocke – Gameday Safeco Field

Charlene Collins-Freeman

Carla O’Connor – Bellissime

Bellissime by Carla O’Connor - AWS2015. Bellissime by Carla O’Connor,Edgar Whitney Memorial Award, AWSExhibit 2015

� 3rd Place: Roger Baker –Great draftsmanship. Smoke isa little weird.

Thanks to all who entered.

1st Place: Linda Parisi – wonderfuluse of subtle color and reflections.

2nd Place: James McFarlane– Now that’s loose!

22 · May-June 2015

contrast is vital.I especially find this weakness in

floral paintings and in the constructionof figures.

Practically, there are, of course,many ways one can construct a varietyof edges. My preference is to block inthe painting broadly, thus creating aplethora of soft edges. Then as thepaper dries, I begin to firm up myedges, until the razor sharp ones areadded at the end. The nature ofwatercolor allows this to be a mucheasier approach than proceeding from

hard edges to softer ones: too often thisrequires scrubbing and over stroking, or“licking”, which can lead to muddycolor. (I should also note here that ahard edge placed over a dry or semi-drysoft edge can produce a beautifulpainterly look.)

I learned most of my edgetechniques from oil painters (yes, it isOK to go to the “dark” side). Forwhatever reason, they, as a group, seemto have a better understanding of edgequality than we watercolorists do.

I hope this helps you out. Next timewe will discuss weaknesses I have seenin color interpretation.

Keep your brush wet!Eric

PAINTINGS I HAVEJUDGED EDGES

I have had the pleasure of beingcalled upon as a judge and/or juror formany national and international shows.The paintings have been spectacularand many times I find myself humbledby the quality of the work.

However, there are someweaknesses that have sufficientlysurfaced that I feel warrant a discussion.Frequently, I see a neglect of aneffective and meaningful handling ofedge quality, color, personalinterpretation, and the medium itself.

In this Hot Press article, I would liketo discuss edge quality. Basically, alltypes of edges fall into two categories:hard or soft. Realistically, hard edges

are evident when a form turns quickly,such as in the bridge of the nose or atthe elbow. Soft edges are seen when theform turns slowly, such as on the thighor buttocks. Realist painters let theirunderstanding of the curvature of theform determine their edges. However,from a design standpoint, edges can bemore powerful than just showing thecurvature.

A hard edge is basically made by astrong value contrast. Strong valuecontrasts attract our eye. Soft edges aremade by a slow value transition, mostoften from oneshape toanother. Softedges allow oureyes to passthrough apassagequickly.Consequently,we artists tendto, but notalways, usehard edges todraw theviewer’s eyestoward the areaof dominance,and use softeredges outsidethe area of dominance. This is one ofthe most effective tools to guide ourviewer throughout the picture planeand then bring them to an area ofdominance. (Some might prefer theterm Center of Interest, but I do not,because it seems to imply one object,rather than an area.)

The error I see so frequently is notwith hard edges, but the lack of softedges. So often the artist has hard edgesthroughout the painting, and in effect,negates any power those edges mayhold. They are in conflict with eachother. It is like going to the ballet andevery ballerina a prima ballerina.Nobody is important, because all aretrying to be. Subordination is essential,and so the same with our edges. Theonly way for a hard edge to beeffectively hard is when it is played upagainst soft edges. Then it meanssomething! As in many areas of design,

Wiegardt on Watercolor

Box 1114 · Ocean Park, WA 98640(360) 665-5976

www.ericwiegardt.comwatercolors@ericwiegardt.com

American Watercolor Society2012 Gold Medal of Honor

SCHOOL OF PAINTINGWATERCOLOR WORKSHOPS

2015 for the Northwest5/13-15—Getting Started

6/8-10—Secrets of Painting Loose8/10-14—Watercolor Plein Air Workshop11/16-20—Creating an Area of Dominance

9/12-26 PORTUGAL PLEIN AIR WORKSHOPLearn more email us or call!Specials Every Month

ALL AVAILABLE ON-LINE and atWIEGARDT STUDIO GALLERY

VISIT OUR WEBSITE!

www.ericwiegardt.com and the new ARTISTS’CONNECTION located under WorkshopsAvailable: DVDs, Books, Art Supplies

Original Paintings, Giclees Prints & Lithographs

VISUAL PLEASURE FOR GENERATIONS

Eric Wiegardt – Sedona

A Brush with Art

Northwest Watercolor SocietyP.O. Box 50387

Bellevue, WA 98015-0387