Tallahassee Watercolor Society Newsletter November/december 2024

Artist Dialogue at the Library

We continue to meet on the first Sunday of each month, even during the summer break. The sessions are from 2 to 4 PM in meeting space at the downtown library. This is a fun, and air-conditioned way to spend a Sunday afternoon. Reminder e-mails go out about one week in advance. All are welcome and we hope to see you soon.

Due to hurricane relief efforts the November Artist Dialogue will be cancelled.

Artist Dialogue at the Library Resumes Sunday December 1

Bring one or a few water media paintings, in progress or recently completed. Give and get feedback for improvement. Share ideas and have fun.

Leroy Collins Downtown Library

200 W. Park Ave

Tallahassee

Room B on the main floor

2-4 PM

Marty Holland

I will be showing and hopefully selling artwork at the Thomasville Center for the Arts Wildlife Arts Festival this November 15th - 16th.

Marina Brown

The poster is of my new solo show at the Anderson-Brickler Gallery called, "Dance With Me Africa!" In its 40 works of art, it follows the journey of the diaspora from Africa through the Americas and beyond, with watercolor portraits and figurative works portraying the amazing depth of cultural riches that have seeded the world. Running Nov. 4-Dec 30th. 1747 S. Adams St. Tallahassee.

The other painting is the first in a series of ethnic portraits of people "who have seen much." It will include elders from many countries whose experiences have marked their faces and forms, and in which joy and its lack can be read by all of us.

LeMoyne’s 61st Annual Holiday Show Opening Day

Saturday, November 23, 2024, 10am – 6pm

​At 10 am, as the Mimosas and entertainment continues, the show will open to the public. For a small entry charge of $5 you can expect to be dazzled by a diverse assortment of original handmade ornaments, works of art, and crafts, all perfect for your holiday gift-giving. Start in the galleries to shop for hundreds of giftable items from your favorite local artists and then make your way through to LeMoyne’s gardens, where you will be welcomed by up to 27 artist booths!

Free for LeMoyne Arts Members and children 12 and under, $5 for non-members (includes a one-time re-entry ticket to the Holiday Show).

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Watercolor 103 Workshop

Presented by Tallahassee Senior Center at Tallahassee Senior Center for the Arts, Tallahassee FL

Nov 08 2024 - Dec 20 2024

For the continuing beginners to beginning intermediate student to further develop their skills in watercolor. Instructor provides a theme each week or she will help individuals further their skills on a self directed art piece.

Instructor: Diane Ogorzaly

Fridays, 1 – 3:30 pm, November 8 – December 20 (6 weeks, No class November 29)

For the continuing beginners to beginning intermediate student to further develop their skills in watercolor. Instructor provides a theme each week or she will help individuals further their skills on a self directed art piece.

Information and Registration: https://www.tallahasseeseniorfoundation.org/events/watercolor-103-for-continuing-beginners-to-beginning-intermediates-w24-2/

Phone: (850) 891-4000

Website: www.tallahasseeseniorfoundation.org

5 Things That Changed My Creative Process

Burning Question: How did a change in surface or tool—or an outside influence—change your art or process in a meaningful way?

Five esteemed watercolor artists answer this question, sharing the impact that a change in their creative process—whether material, technical, or philosophical—has had on their work and how it’s led to more meaningful artistic expression.

What change or changes have you made that have positively impacted your work? And is it time to consider introducing new influences once again?

Laurin McCracken

“For many years, I used very small brushes—Nos. 00, 0, and 1—to paint details. Then, Ricard Escoda showed me that if you use good kolinsky brushes, the points on the larger brushes—Nos. 2, 4, and 6— can make the same fine lines. With the small brushes, I was often running out of paint before I finished my line. The larger brushes hold a lot more paint, so I can get more painting done without wasting time filling the brush.

“Also, when I started painting, I used cold-pressed paper, which worked very well for florals and landscapes. When I started painting still lifes in a more realistic style, however, I found that soft-pressed paper was better suited to my needs. Fabriano Artistico is the only paper that comes in a soft-pressed finish. With lower “hills” and more shallow “valleys,” I can paint a high level of detail. And, because it’s 100 percent cotton, I can work the paint into the paper and get soft edges when I need them.”

Laurie Goldstein-Warren

“Without a doubt, it’s my mouth atomizer that has totally changed the way I proceed through a painting. It has given me the means to tone down an area or to bring interest to it with texture. Depending on the color I use, I can push back an area or bring it forward. I use this tool in nearly every artwork.”

Bev Jozwiak

“My biggest and most lasting ‘aha moment’ came as a result of an Arne Westerman workshop. He recommended painting on hot-pressed paper; until then I had always used cold-pressed. As an artist who prefers to paint directly—bold and fast—the paper felt like home. While I still enjoy experimenting with other surfaces, for my way of working, nothing compares to the way watercolor glides across a sheet of hot-pressed paper.”

Frank Eber

“Birge Harrison’s 1910 book on landscape painting taught me that painting shouldn’t be focused on technique or showing off brushstrokes. That helped me realize what’s really important: personal self-expression and the need to convey something deeper. It completely changed the way I approach my work. Masterful technique, in itself, is not art. It might impress others who paint, but that can’t be the goal of any serious artist.”

Birgit O’Connor

“When painting florals in the past, my approach was to paint the subject shape by shape, section by section. When I started to teach workshops, I noticed it was often difficult for students to make large enough puddles of color blends to keep color consistency in their compositions. I realized the best way to help them was to teach them how to harmonize and unify large areas, which in turn impacted my own creative process. Basically, when the color is uneven, or when starting a new composition, I try to unify as many shapes as possible, painting over many of the pencil lines. Later, I separate the shapes into smaller ones, using different values, shadows, and color.

“As far as game-changing tools, I have two. First, whenever I’m working on a painting, and I’m not sure what to do in an area—be it a landscape or flower, whether working wet-into-wet or painting detail, shadows, or backgrounds—I like to use Dura-Lar wet media film. It’s a clear plastic acetate that I can place over the painting and test an idea before I commit. Then, I simply wipe off the film with a damp cloth to reuse again later.

“The second indispensable tool is an original Mr. Clean Magic Eraser (melamine foam eraser), which provides a quick and easy way to lift out heavily pigmented areas or eliminate unwanted blooms and overlapping edges. I simply wet the surface of the affected area, wet the sponge, and then gently rock the eraser back and forth on the area or lightly wipe and lift. I use a light touch to avoid any surface damage.”

We hope some of this advice helps you in your creative process.

5 Secrets to Painting Atmosphere in Landscapes You Need to Know

by McKenzie Graham

Paint the ever-elusive atmosphere in a way that truly expresses your personal connection to a place and time.

As a landscape painter in the United Kingdom, artist Oliver J. Pyle is engaged by the idea of atmosphere and how it relates to painting, using watercolor. Read on to uncover Pyle’s five secrets for creating compelling scenes and atmosphere that have the power to capture the viewer’s eye —and heart. Enjoy!

The Evocative Landscape

I love painting landscapes and everything about it. And watercolor allows me to make my own response to what I see and feel. Specifically, certain landscapes in the U.K. have become favorites because of proximity or family holidays. I know their vistas and details intimately. With that being said, why is it that some paintings are deemed to be atmospheric, while others aren’t? Atmosphere in a painting is, with a few exceptions, not about technique. First and foremost, it’s your connection to the place that matters.

1. Know Your Subject

On numerous occasions, I’ve walked along a particular beach in Dorset, where I’ve built sandcastles, played cricket, and swam in the sea. I’ve been sunburnt by lounging on it for too long, and have sat looking across the bay, shivering, while drinking a cup of tea. I feel as though I know everything about the place.

In painting A New Day, Studland, I hoped to translate that experience into brushstrokes so that viewers can, in some way, experience what it’s like to be there. If I’m successful in this endeavor, then I believe the painting has atmosphere — a true sense of the place and the time, if you like. If you’re in love with your subject, and spend time getting to know it and understand it, then it’s very likely your work will have this elusive quality.

2. Tell a Story with Atmosphere

The best way to turn an otherwise ordinary scene into something compelling and atmospheric is to tell a story. Consider a subject like Elizabeth Tower (also known as Big Ben). It’s probably London’s most iconic landmark, to the extent that its familiarity can work against an artist. My reference photos and sketches for Eventually the Rain Stopped, a studio painting of Parliament Square featuring Big Ben, were from overcast days, saying nothing new or interesting about the scene. To bring the scene to life, I needed a story.

Having played around with a few sketches and ideas, I felt that wet pavement and reflections, with a break in the oh-so-British weather, would help to create interest. The inclusion of people walking into the painting and toward us gives a sense there’s some early-evening movement to get to the underground station — or even to attend a late session of Parliament — now that the rain has stopped.

3. Use the Light

More often than not, artists think it’s difficult to create drama and atmosphere without strong sunlight and deep shadows. In the U.K., however, strong directional light can be something of a rarity. Dull, overcast days are far more commonplace. Stormy Light, Kimmeridge Bay benefits enormously from the flat lighting and brings back strong memories of the day I was there.

I watched children search for fossils and hermit crabs in the rock pools before making a retreat to the warmth of a local tea room. I couldn’t help but notice how the bright greens and oranges of the seaweed contrasted with the cool slate gray of the ledges that jut out into the bay. With strong highlights and deep shadows, the effect wouldn’t have had the same impact. Color was far more important than tonal contrast. While light is an essential part of the toolkit in creating atmospheric paintings, understand what it is about the light that makes a scene compelling. It doesn’t need to be high contrast. Many wonderful paintings have been made on an overcast day.

4. Understand Your Technique

I hinted at the outset that it was primarily the artist’s connection with a subject — not technique — that leads to atmospheric paintings. Does that mean technical issues aren’t important? Of course not. Hopefully, a couple of pointers from Colors of Tuscany will be helpful.

It features a well-known area in Italy, and the undulating landscape is home to many wonderful vineyards. These present a challenge. They add a level of detail to the hillsides and need careful handling. Painting them in detail would be a mistake. It would spoil the atmosphere that comes from the strong but hazy light and the depth in the landscape. For passages such as this, the simplest of brushstrokes to create broken washes, as well as a sound drybrush technique, are all that’s required to suggest rows of vines in the distance. The foreground vines are painted wet-into-wet. It’s just enough to suggest vines without lots of hard edges to distract us from the main subject — the charming villas.

To help build atmosphere in your work, try to simplify and reduce what you see to as few brushstrokes as possible. Something suggested rather than stated creates a more satisfying experience for the viewer — and helps to ensure your story or vision isn’t shouted down by distracting details. Make sure you have firm control over both color and tone; they’re vital in creating atmospheric paintings.

5. Bring It Together

We’ve seen how to create atmosphere, but exactly what is it? I think Evening Haze, Kimmeridge Bay helps to get to the crux of the concept. The painting is of a scene on the Dorset Coast with which I’m very familiar. This is one of my favorite paintings — the evening light; the calm, silvery sea; the focal point of Clavell Tower; the sheep; the receding cliffs in the distance. It’s so redolent of my experiences in this beautiful part of the country. I find it incredibly evocative.

To me, atmosphere is nothing more than a true sense of a place and time. Presenting that for others to experience and enjoy is truly satisfying and is often why viewers engage with a particular painting. Of course, it’s very subjective, too. A painting may not evoke the same emotion in one person that it does in another. Generally, though, if a piece of art is able to draw viewers in — to make them enter into the experience of being there at that moment in time — then it’s undoubtedly an atmospheric painting.