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Jacksonville center - July 19-21(s,s,m); 22-25(t,w,th,f) 2008 |
How'd they do that? example - David Gill's Untitled Watercolor, photographed at the Central PA Festival for the Arts, juried booths, 2008 - with permission, |
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click to enlarge |
Watercolors striving for technical mastery frequently picture flowers, lace, mirrored surfaces and glass. They tend to be very popular with the public and sell for high prices. The subjects are treated in a clinical, formalistic way. Most beginners want to paint this way - BUT the technical mastery approach requires skills usually achieved only after intensive work.
They are usually carfeully planned in advance, or even sketched before painting - erasers [link] that take graphite off the substrate without affecting the watercolor are available. The sketched lines remain here. [view]
Sharp highs / edges often indicate the use of frisket [link] to resist washes. In this example [view], I'm pretty sure Mr. Gill used wet on dry technique instead, which requires fantastic control. |
A problem with 'technical mastery' is its limited expression - there's little deviation from photographic color and form. Its ironic that shapes in nature are seldom bounded by lines, which are created by our brains (left hemisphere function.) We think we see lines when, in fact, there are none there. Note that the wine colored mat (a no-no in many juried shows) helps to unify the composition [view with white mat].
There are other standards for watercolor painting, like expression, abstraction, or formal composition, each equally 'worthy' as technical mastery.
go back to Jacksonville class main page
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