Creative, loose, gradated, blended washes – wet-in-wet for the table top

Paul Riley Roses and Damsons Watercolor 14.5” x 21.5” Hard and soft edges: Wetness needs 15 minutes to dry, so patience is required or colors become muddy Delicate colors, but strong brushwork

This detail shows carefully controlled wet-in-wet in the bowl… …and crispness with little dots and lines made with small brush

Traditional building up of a watercolor: 1.Sky first, it’s the lightest part 2.While still damp, a light green wash over the whole tree 3.Blue-green applied to more distant areas of tree and light brown to branches 4.Paper dries and darker tones added 5.Cooler blues added to back of tree for depth

#1: Highlights and light values

#2: Pale mid-values

#3: dark mid-values

#4: darkest values complete the picture

John Hierholzer (OHIO) Kiel, 2007 Watercolor, ink on paper 37.5 x 46.5” abstract and realistic at the same time simplified and flattened personalized coloring book

John Hierholzer “insert trees here”, 2007 watercolor, ink on paper 25’ x 32”

Plums and Persimmons

Background and color palette is established early working wet on dry

Blue on vase reserves highlights Dark fruit done in glazes

While colors appear local, each color is used throughout

The whitest areas of the painting are the white of the paper.

Tinting colors: 1.Pure color 2.With 25% water 3.With 50% water 4.With 75% water

2 approaches: Opaque: covers the color underneath Transparent: allows color underneath to be seen

Megan Hildebrandt Leonard Calvert ran for governor of Maryland in 1633 with the campaign slogan “Vote Calvert, Vote Connections – It Runs in the Family”, 2007 Watercolor, ink, gouache on Bristol 14” x 11” Transparent and opaque areas

Megan Hildebrandt Francis Scott Key, hailing Mary Pickergills’ flag at the Battle of Baltimore, began to cry right than and there., 2007 Watercolor, ink, gouache on Bristol 11” x 14” makes rumors, local lore, and tall tales into history

Entire paintings may be done with personalized brushstrokes

Stippling uses tiny dots and dashes to create value and texture

Michael McConnell (San Francisco) Departures, 2007 Graphite, watercolor on paper 24” x 18”

Be creative with textures

Quick study of a dog

Peggy McNamara Home Pages: Illinois Insect Series (Pink Caryatid) Watercolor on paper 22” x 30”

Peggy McNamara Home Pages: Illinois Insect Series (Ladybug) Watercolor on paper 22” x 30”

Amy Ross (Boston) Turkey Amanita Watercolor on paper 15” x 11”

Amy Ross Sheep Magnolia #6 Watercolor on paper 22” x 30”