No Doomsday This Year! Merry Christmas all my friend and colleagues!
K. Sterkhov. Frozen. (Summer Garden, St.Petersburg),
demo, 26x36 cm, 2012
Friday, December 21, 2012
Tuesday, December 18, 2012
Alvaro Castagnet. Christmas Interview
How did you come across watercolors, and why did you choose it over other mediums?
Since I can remember I have been attracted to drawing and painting. My father realized I had a strong artistic in interest, and supported me all along. He organized for me to study with a good friend of him, Professor Esteban Garino, who happen to be one of Uruguay’s best watercolor artist. So, by the age of 12, I would go to his studio, paint and draw by his side. Then I went to ‘Bellas Artes’ Art School, where I learned from one of the finest Uruguayan oil painters, Miguel Angel Pareja, he taught me a lot about theory of colours. My technical skills reached their professional peak in Melbourne Australia where I spent a few years focused and immersed on developing my own style of painting. Met lots of fellow artists, working in the medium at a very high level; I got so inspired and focus - there was no looking back!
I simply love the medium. It suits my personality. Watercolor for me means pleasure, freshness, spontaneity, and freedom! I believe it is a superb medium. It’s spontaneity, it’s speed of execution, it’s happy accidents, together with perennial pigments, 100% cotton paper, and other elements that not only enhance the glow with an intense chromatic brilliance of any hue; but makes it possible for a watercolor to stand the times, and so, be a very valid and valuable work of art. In watercolors essentially, you can capture the magic of life in one session! And, to my liking - this makes this medium second to none!
How do you get inspiration? Do you look for it or it is always there? Both. It sometimes happens naturally, spontaneously; but other times, even though I feel like painting, the subject does not touch my inner feelings. So, I have to look for inspiration, and that could mean, going for a walk, looking at photos, to draw, listen to music, etc.
What is your attitude to a painting from reference photos? I think it is all valuable, as long as you don’t get bogged down in superficialities or details.
You are quite relaxed about using the opaque paints. Do you believe in justice of strict rules about pure transparent watercolors limitation? I believe in end results, so, vision should be followed, expressed the best possible way with the chosen medium. One of the most beautiful aspects of watercolor medium is the transparency; so, it obviously is a very important factor to consider when painting, but it is not a rule to follow, for the sake of it. But I must say, I only use watercolor pigments.
Do you always have a plan before you start to paint?I always have a clear vision and work with the end result in my mind. Once you have it clear in your head, then speed of execution, security and minimum mistakes are a direct consequence.
Since I can remember I have been attracted to drawing and painting. My father realized I had a strong artistic in interest, and supported me all along. He organized for me to study with a good friend of him, Professor Esteban Garino, who happen to be one of Uruguay’s best watercolor artist. So, by the age of 12, I would go to his studio, paint and draw by his side. Then I went to ‘Bellas Artes’ Art School, where I learned from one of the finest Uruguayan oil painters, Miguel Angel Pareja, he taught me a lot about theory of colours. My technical skills reached their professional peak in Melbourne Australia where I spent a few years focused and immersed on developing my own style of painting. Met lots of fellow artists, working in the medium at a very high level; I got so inspired and focus - there was no looking back!
Alvaro Castagnet. Passion To The End. 56x75
How does the watercolor medium respond for you unlike other mediums?I simply love the medium. It suits my personality. Watercolor for me means pleasure, freshness, spontaneity, and freedom! I believe it is a superb medium. It’s spontaneity, it’s speed of execution, it’s happy accidents, together with perennial pigments, 100% cotton paper, and other elements that not only enhance the glow with an intense chromatic brilliance of any hue; but makes it possible for a watercolor to stand the times, and so, be a very valid and valuable work of art. In watercolors essentially, you can capture the magic of life in one session! And, to my liking - this makes this medium second to none!
Alvaro Castagnet. Workshop Demo, 05, 2010
How do you get inspiration? Do you look for it or it is always there? Both. It sometimes happens naturally, spontaneously; but other times, even though I feel like painting, the subject does not touch my inner feelings. So, I have to look for inspiration, and that could mean, going for a walk, looking at photos, to draw, listen to music, etc.
Alvaro Castagnet. Afternoon Glow, 67 x 101 cm
What is your attitude to a painting from reference photos? I think it is all valuable, as long as you don’t get bogged down in superficialities or details.
You are quite relaxed about using the opaque paints. Do you believe in justice of strict rules about pure transparent watercolors limitation? I believe in end results, so, vision should be followed, expressed the best possible way with the chosen medium. One of the most beautiful aspects of watercolor medium is the transparency; so, it obviously is a very important factor to consider when painting, but it is not a rule to follow, for the sake of it. But I must say, I only use watercolor pigments.
Alvaro Castagnet. Workshop Demo. 2011
Do you always have a plan before you start to paint?I always have a clear vision and work with the end result in my mind. Once you have it clear in your head, then speed of execution, security and minimum mistakes are a direct consequence.
Where is the point displaying that the work is finished?
To be honest, it is always a gut feeling - it doesn’t obey to a rationale rule. Intrinsically, you know you got it, you are done with it!
What are you serious about?
I AM VERY SERIOUS ABOUT the crusade of taking watercolors to a higher level; to raise awareness and respect for this most beautiful and difficult medium. The high standards, together with the perennial aspect reached today by the high quality of all the materials; makes it possible to create a work of art that will resist the taste of times. On my own work, I am serious about capturing mood and magic of the chosen subject, always exploiting the virtues of the medium.
Your paintings are very recognizable by your style and colors. What are the “must” colors for you?
Colors are the heart and soul of my paintings. I like to work with “a palette of colors“. This means synchronized, homogenic set of hues. This translates in unity, and holds the painting together. Of course, I have cool and warm of each hue: reds, blues, and earthy colors, ochre, sienna’s; and some exotic ones like lavender, green turquoise light, etc. Colors by itself are not so important; what is important is to work with a “palette of colors”.
I believe brushes are the most important tool of the painter. My years of experience with watercolor lead me to design the ideal ‘extended finger’. A painting will benefit from natural hair brushes which are soft and very absorbent. For the main washes, I mostly paint with mop shaped brushes as they are able to carry lots of water and pigment - about six or seven different brush sizes. Then, I use the firm control of a premium synthetic brush (my own Escoda set) which is helpful to apply the final details - about three brushes.
What is your paper choice? I think every artist should work with the best materials they can afford. I have used many different papers, and a lot are very good. I really like to work with 300 grams, (140 lb) rough Texture in Saunders Waterford, Arches, Kilimanjaro, Fabriano, Hahnemuehle, etc. (300 grams is same as 140 pound). I also use some smooth paper for charcoal sketches.
Do you have some authorities in watercolor of the past or present? I guess we all have artist that we admire, and some are referrals to our work (mainly when we are at the beginning of our careers). There are so many good watercolor artists all over the world now in Australia, Spain, USA, Uk, etc., and many young artists from China that are doing amazing works. The list of artist I like, would be way too long to write, but I think one that I feel very much drawn to his work; paintings by Andrew Wyeth.
When you teach do you attempt to show the method of painting or the attitude to the subject?
To be honest, it is always a gut feeling - it doesn’t obey to a rationale rule. Intrinsically, you know you got it, you are done with it!
I AM VERY SERIOUS ABOUT the crusade of taking watercolors to a higher level; to raise awareness and respect for this most beautiful and difficult medium. The high standards, together with the perennial aspect reached today by the high quality of all the materials; makes it possible to create a work of art that will resist the taste of times. On my own work, I am serious about capturing mood and magic of the chosen subject, always exploiting the virtues of the medium.
Your paintings are very recognizable by your style and colors. What are the “must” colors for you?
Colors are the heart and soul of my paintings. I like to work with “a palette of colors“. This means synchronized, homogenic set of hues. This translates in unity, and holds the painting together. Of course, I have cool and warm of each hue: reds, blues, and earthy colors, ochre, sienna’s; and some exotic ones like lavender, green turquoise light, etc. Colors by itself are not so important; what is important is to work with a “palette of colors”.
Alvaro Castagnet. Workshop Demo. 2012
How many brushes do you use? I believe brushes are the most important tool of the painter. My years of experience with watercolor lead me to design the ideal ‘extended finger’. A painting will benefit from natural hair brushes which are soft and very absorbent. For the main washes, I mostly paint with mop shaped brushes as they are able to carry lots of water and pigment - about six or seven different brush sizes. Then, I use the firm control of a premium synthetic brush (my own Escoda set) which is helpful to apply the final details - about three brushes.
Alvaro Castagnet. Workshop in Istambul.
What is your paper choice? I think every artist should work with the best materials they can afford. I have used many different papers, and a lot are very good. I really like to work with 300 grams, (140 lb) rough Texture in Saunders Waterford, Arches, Kilimanjaro, Fabriano, Hahnemuehle, etc. (300 grams is same as 140 pound). I also use some smooth paper for charcoal sketches.
Do you have some authorities in watercolor of the past or present? I guess we all have artist that we admire, and some are referrals to our work (mainly when we are at the beginning of our careers). There are so many good watercolor artists all over the world now in Australia, Spain, USA, Uk, etc., and many young artists from China that are doing amazing works. The list of artist I like, would be way too long to write, but I think one that I feel very much drawn to his work; paintings by Andrew Wyeth.
Alvaro Castagnet. Tango Passion II. 75x56 cm
When you teach do you attempt to show the method of painting or the attitude to the subject?
Both are very important. I try to have a balance and stress the importance of having a philosophy, your own approach, and to paint with integrity. An artist needs to master his technique to work with security and freedom; but also needs to look beyond technique to express feelings and pour his passion into his work; as that would let him express the heart and soul of the chosen subject.
What is the sign of a Work of Art? To me, magic and mood!
Do your paintings ever get “STUCK”? If so, what do you do?Press the accelerator and be bold!!!
Do you still have some aims to achieve? Yes! It is never ending! Capturing in every painting the intrinsic side of it! The elusive side of painting....something not so easy to achieve.
Do you reflect the world or you create your own? I paint what I see, and not what I know. I always create the painting, the way I would like to see it. My interpretation is helped by a logic mind in order to answer the needs as a painter - I don’t deny it, but my view is to have a vision, and follow your gut feelings, your intuition - to me, this is a must, to be able to create a work of art.
Do you follow the Art life? I paint almost every day, and I travel a lot, so, I follow the art life in my own way, chatting with friends, and visiting.
Alvaro Castagnet. From Shanghai Biennalle 2010
What is the sign of a Work of Art? To me, magic and mood!
Do your paintings ever get “STUCK”? If so, what do you do?Press the accelerator and be bold!!!
Alvaro Castagnet
Do you still have some aims to achieve? Yes! It is never ending! Capturing in every painting the intrinsic side of it! The elusive side of painting....something not so easy to achieve.
Do you reflect the world or you create your own? I paint what I see, and not what I know. I always create the painting, the way I would like to see it. My interpretation is helped by a logic mind in order to answer the needs as a painter - I don’t deny it, but my view is to have a vision, and follow your gut feelings, your intuition - to me, this is a must, to be able to create a work of art.
Alvaro Castagnet. Urban Series 101 x 67 cm
Do you follow the Art life? I paint almost every day, and I travel a lot, so, I follow the art life in my own way, chatting with friends, and visiting.
Tuesday, December 4, 2012
Pablo Ruben Lopez Sanz Interview
When I see your painting I have the feeling you are born as a watercolorist. What was your way to this media?
I have painted all my life since I was a child, I began to paint with oils and then with acrylics, but when I discovered watercolor I felt that this media was the perfect to me. Watercolor allows me to keep the essence of drawing and be more spontaneous. Also you can carry a full set of watercolor to paint easily everywhere.
Do you consider the color is the second important element after light in painting?
Not really, I think there are many things more important in painting than color. One of the most important things I consider before start a work is composition and tonal values, the color is secondary. Of course there must be also a correct balance and choice of the colors.
Could you say that you control the process completely?
How do you find the object for your painting?
How do you work on composition?
I love a large empty space in some of your works. What can you say about the principle of selection of details and finding the focal point in your works?
Do you always finish the painting on location?
What is your brushes choice in a major case?
What paper do you like the best?
What is the strictest “don`t” in watercolor?
Like in every art technique, the worst thing is an overdone work, the magic is in a few number of single brushstrokes, although it takes many time to learn to paint this way.
Is public opinion important for you?
I have painted all my life since I was a child, I began to paint with oils and then with acrylics, but when I discovered watercolor I felt that this media was the perfect to me. Watercolor allows me to keep the essence of drawing and be more spontaneous. Also you can carry a full set of watercolor to paint easily everywhere.
Pablo Ruben Lopez Sanz.1 Prize Fast Paint Contest. 100x100. 2011
Who was or
who is your highest authorities in watercolor?
Thinking in
the masters of the past, I admire Turner, Sargent and Boudin. Nowadays, there
are dozens of wonderful artists from all over the world who are making
excellent works, such as Joseph Zbukvic, Lars Lerin, Alvaro Castagnet, Nicholas
Simmons,...the list should be very long.
Pablo Ruben Lopez Sanz. 1 Prize Esquivias. 2011
Not really, I think there are many things more important in painting than color. One of the most important things I consider before start a work is composition and tonal values, the color is secondary. Of course there must be also a correct balance and choice of the colors.
Pablo Ruben Lopez Sanz. 1 Prize Getafe. 2011
I control completely the process in those subjects in which I have already worked before like urban scenes, puddles, ponds or village streets. But every day I search for new challenges and I have to find the best way to solve them.
Pablo Ruben Lopez Sanz
Most of the paintings I do are for “Plein Air Contest” that are very usual in Spain on weekends. So, we have to paint a specific town or city. I prefer industrial landscapes, railway stations and lately I am attracted by water scenes.
Pablo Ruben Lopez Sanz. 6 Prize Alcaudete. 2011
I think composition is the most important thing in a work, is the first impression you have when you see a painting, so I study a lot where to put the shadows, the lights and the direction of the main lines. There are some compositions that I know that works very well because the horizon line or the focal point is correctly placed, but there are infinite combinations.
Pablo Ruben Lopez Sanz.. 3 Prize San Fernando de Henares. 2011
You are right! It´s a common thing in most of my works, It because I feel It´s necessary a place in the work where the eye could rest and another one where are all the details and the focal point, a painting plenty of brushstrokes and details everywhere may appear recharged. Often, I choose the ground to integrate these large empty spaces.
Pablo Ruben Lopez Sanz. 4 Prize Monteagudo. 2011
Do you
prefer to work in large scale?
Of course,
there are more possibilities in working on large scale, more freedom and more
range of brushstrokes; you can do also a small scale work into a large one.
Pablo Ruben Lopez Sanz. 100x100. 2012
When I paint in “plein air” contests always, because you have to finish the work in four or five hours and immediately we have to exhibit the works to be evaluated by the jury. I only do my watercolors in various phases when I´m working at the studio.
Do you
finish the painting in one session?
I only do
my watercolors in various sessions when I´m working at the studio, sometimes I
stop one or more days until the next step, to study the final solutions or
variations.
Pablo Ruben Lopez Sanz. Chinatown San Francisco. 92x92
How many
colors do you use?
I have a
reduced palette, ultramarine blue, cerulean blue, cobalt turquoise, indigo,
opera rose, cadmium red orange, burnt umber, raw umber and I add some more
depending on the subject I´m working on. I love range of blue.
Pablo Ruben Lopez Sanz.. Alcala De Henares. 50x146
Escoda brushes without hesitation! They are handmade in an excellent quality from the hair to the handle. I use the synthetic series “Barroco” and “Perla” because they are always sharp, and the mop brushes “Aquario” which don´t have the uncomfortable wires that have most of the other mop brushes.
How do you
prepare the paper for painting?
I prefer to
work on a much tensioned surface, so first I wet all the paper on a board or in
a canvas and when it´s wet I use a stapler to fix the paper to the support.
When the paper has completely dried, it´s perfect to start the work.
Arches 300 gr. Rough surface, I think it´s the most versatile.
...sketching.
Like in every art technique, the worst thing is an overdone work, the magic is in a few number of single brushstrokes, although it takes many time to learn to paint this way.
Pablo Ruben Lopez Sanz. Sketch In Roma Puente De San Angelo
Yes, if you want to live of your art, it´s necessary to hear the people opinion. We paint for public, jurors, students or collectors, so we have to know what does work and which is the general opinion of your work, of course always keeping your personality and way of painting.
Friday, November 23, 2012
New DVD + Book
The publishing house LAN and PLANET OF MUSIC represent my new 2 hours DVD with 5 watercolor instructional videos LANDSCAPES. It comes out with a 30 pages book where I am sharing the steps of every demonstration and more... It meant to be a good help for amateur artists to get more loose and brave in watercolor media.
The DVD format might have difficulties with playing in USA. If you have Mac you will need VLC player to play those videos (I think it is free prog or ... almost free).
If you are interested to purchase it please contact me via my e-mail sterkhovart@gmail.com
The price is 30 euro.
If you are interested to purchase it please contact me via my e-mail sterkhovart@gmail.com
The price is 30 euro.
New Perl in My Possession
Recently I became a proud owner of two paintings by outstanding contemporary watercolor masters. I am posting them here to share my joy)
Piet Lap
Keiko Tanabe
Monday, November 19, 2012
John Salminen after the Nanjing International
A painting created after the Nanjing International (November 2012)
John Salminen. Qing Hui River.
Monday, November 12, 2012
Z-cat, Z-brush, Z-painting
Joseph Zbukvic`s cat drinks only that water... (from Facebook)
Z-cat drinks Z-water
Z-brush makes Z-painting
Z-painting
Saturday, November 10, 2012
Testing Escoda
I have a chance to test all the signature Escoda brushes! The full collection of signature sets has arrived. I love the very appearance of these brushes - real aesthetic perfection! Can`t wait to try them all!
Escoda signature collections - just THE PERFECTION itself!
Robert Wade`s Book
I`v just got a present from a legend of Watercolor medium Robert Wade. That is one of his early books full of humor, best instructions and his beautiful paintings those now became classical. In one word it is a treasure!
Robert Wade`s Book.
Tuesday, November 6, 2012
Katherine Chang Liu
Katherine
is an abstract painter and printmaker who lives in Westlake, California.
Chang Liu is an internationally renowned painter, teacher, curator and juror. Born in China and raised in Taiwan, she received a full scholarship to UC Berkeley, where she received her MS in science. After moving to Virginia with her husband, she re-kindled her love of art and the brush painting she had practiced as a child. Her work has been featured in 26 books and over 70 magazine articles, and she has served as a frequent juror for national, regional, and statewide exhibitions.
Since 1978, Katherine Chang Liu has taught for many museums and numerous art groups and now teaches three to four workshops a year while remaining a studio artist, showing both nationally and internationally.
Chang Liu is represented by the Jenkins Johnson Gallery, San Francisco and NY; LewAllen Contemporary, Santa Fe; Kathleen Faletto Warner Consultancy, Rome; and other international galleries. She has had solo shows in Lyon, France; Hong Kong; Finland; Copenhagen, Denmark; as well as in the U.S. She is a recipient of grants from the NEA and Virginia Commission of Arts and Humanities, and is listed in Who’s Who in America, Who’s Who in American Art, and Who’s Who in American Women. Her work can be found in many private and corporate art collections.
California Watercolor Association Workshop with Katherine
Feb. 18 - 22 2013 / www.californiawatercolor.org
http://chiaroscurosantafe.com/artists/189/
Katherine Chang Liu
Chang Liu is an internationally renowned painter, teacher, curator and juror. Born in China and raised in Taiwan, she received a full scholarship to UC Berkeley, where she received her MS in science. After moving to Virginia with her husband, she re-kindled her love of art and the brush painting she had practiced as a child. Her work has been featured in 26 books and over 70 magazine articles, and she has served as a frequent juror for national, regional, and statewide exhibitions.
Katherine Chang Liu
Since 1978, Katherine Chang Liu has taught for many museums and numerous art groups and now teaches three to four workshops a year while remaining a studio artist, showing both nationally and internationally.
Katherine Chang Liu
Chang Liu is represented by the Jenkins Johnson Gallery, San Francisco and NY; LewAllen Contemporary, Santa Fe; Kathleen Faletto Warner Consultancy, Rome; and other international galleries. She has had solo shows in Lyon, France; Hong Kong; Finland; Copenhagen, Denmark; as well as in the U.S. She is a recipient of grants from the NEA and Virginia Commission of Arts and Humanities, and is listed in Who’s Who in America, Who’s Who in American Art, and Who’s Who in American Women. Her work can be found in many private and corporate art collections.
Katherine Chang Liu
California Watercolor Association Workshop with Katherine
Feb. 18 - 22 2013 / www.californiawatercolor.org
http://chiaroscurosantafe.com/artists/189/
Sunday, November 4, 2012
The Nanjing International
The “Third Invitational Exhibition of contemporary International Watermedia Masters” Successfully Opened
The “Third Invitational Exhibition of contemporary International Watermedia Masters”, sponsored and organized by the Jiangsu Watercolor Research Institute, was opened at 10:00 am on Saturday, October 20, 2012 at the Nanjing City Planning Exhibition Hall. Over 70 renowned watercolorists from 5 continents attended the opening ceremony.
The Institute President Professor Chang Houxing welcomed the exhibiting artists for their support, and stated the purpose and progress of this Exhibition.
Professor Cheng Khee Chee presented a greeting message to congratulate the Institute for the success of this Exhibition and to thank the Institute, especially President Chang for working very hard to provide a platform for international artists to exchange creative ideas and establish friendships.
After the speeches, 5 artists representing 5 continents cut the ribbons to signify the official opening of the Exhibition: Americas - John Salminen, Australia - Louise Foletta, Europe - Konstantin Sterkhov, Asia - Cui Yuzhang, Africa - Alichati Mohamed.
The “Third Invitational Exhibition of contemporary International Watermedia Masters”, sponsored and organized by the Jiangsu Watercolor Research Institute, was opened at 10:00 am on Saturday, October 20, 2012 at the Nanjing City Planning Exhibition Hall. Over 70 renowned watercolorists from 5 continents attended the opening ceremony.
Full group of artists, Nanjing
They signed the guestbook and entered the exhibition hall on red carpet.
After the speeches, 5 artists representing 5 continents cut the ribbons to signify the official opening of the Exhibition: Americas - John Salminen, Australia - Louise Foletta, Europe - Konstantin Sterkhov, Asia - Cui Yuzhang, Africa - Alichati Mohamed.
Nicholas Simmons`s painting Jiansu Dream in the back)
K. Sterkhov (Russia) and Ev Hales (Australia), (Joseph Zbukvic`s painting in the back)
Piat Lap (Nethelands)
Ev Hales (Australia)
Lars Lerin (Sweden)
Janine Gallizia (Australia-France)
Konstantin Kuzema (Russia)
Mark Mehhafey (USA)
Alvaro Castagnet (Urugway)
Konstantin Sterkhov (Russia) (with Cheng-Khee Chee, USA)
Elena Bazanova (Russia)
David Poxon (UK)
Ted Nuttal (USA)
Vladimir Yackobtchuk (Russia)
Cheng-Khee Chee (USA) (with Ev Hales, Australia)
Ping Long (China)
Milind Mulick (India)
Ng Woon Lam (Singapore) (with K. Sterkhov)
John Salminen (USA)
Luise Foletta (Australia)
During the Forum artists gave reports about situation in watercolor media in their countries.
Katherine Chang Liu helped me to interpret my report and PP presentation into Chinese.
The members of the event had a chance to enjoy the suburbs after the official part.
The Exhibition was a great success!
Subscribe to:
Posts (Atom)