Geoffrey Wynne

Impressionist watercolour painter, a member of the Royal Institute of Painters In Watercolor. Over the last 30 years this medium has taken him to many places, his aim being to try and capture the essence of what he sees and feels in each location. In the studio watercolour painting has also taken him on another journey in the sense of an exploration of the medium and its infinite forms of expression. http://geoffreywynne.blogspot.com

What is your Art background?

I was born in Stoke - on Trent, also called the Potteries. At the age of 13 i was selected to attend the small prestigious art school Portland House From 15 years of age i attended Burslem School of Art, to further my training in the arts and crafts.

For as long as i can remember painting and drawing have been an important part of my life and my passion was always for the Fine Arts.At 19 years of age i applied and was accepted at West Surrey College of Art and Design to study painting. I did experiment with watercolors in my last year, working in the style of Emile Nolde` s forbidden watercolors. The first painting i sold was a watercolour.

Geoffrey Wynne

Later i worked as a designer for Coalport China a member of the Wedgwood Group. In these years I only painted spasmodically. The frustration that i was not fulfilling my passion to paint became to much and at 32 I decided to take the definitive step in my life and dedicate it to painting.To give myself courage I enrolled on the Fine Art Course at North Staffordshire University and for the next three years i threw myself frenetically into trying to find myself as an artist. My true art education did not start until 1987 when i moved to Granada and started to paint watercolors.

Was watercolor your choice or it is the watercolor medium choosed you?

In my case the choice of painting in watercolors was a mixture of destiny, necessity and a certain impulsive trait in my character. For academic reasons in 1985 i visited Granada Spain. I became fascinated with the city and revisited again in 1986.In 1987 i sold up and moved to Granada.

Geoffrey Wynne

This old moorish town with the Alhambra Palace dominating its sky line has held a strong fascination for artists poets writers and musicians. John Singer Sergeant, Joaquin Sorolla, Mariano Fortuny,Arthur Melville, David Roberts, George Owen, Wynne Apperley RI and many more painted here. My first year in Granada i spent most of my days filling sketch books with observations of the daily life, the people in the squares and markets going about their activities.
After a year living in Granada my circumstances changed and it became a necessity to make a regular living. My paintings sold but not sufficient to maintain my new responsibilities. I tried making caricatures in the streets and seaside with some success but the winter months proved difficult. Portraits in pastel was a short lived idea as well.The only thing i hadn’t tried my hand at was painting watercolours. I decided to have a go so i bought some cheap paints paper and brushes and started painting plein air.

So was watercolor painting my choice or did the medium choose me, i would say yes to both, my destiny.

Geoffrey Wynne

Do you remember your first experience of painting on spot?
I bought my paints, paper and brushes and two camping stools, one to sit and the other to rest my palette and water.What i didn’t realize at the time that my future as an oil painter in the studio was finished and i was launching into becoming a plien air watercolour artist.

Geoffrey Wynne

I decided to sit in Bibrambla, the main square with flower stalls a beautiful fountain, bars, cafes and the cathedral as its backdrop, a daunting theme for my first attempt. After about three hours i felt a little pleased with my results, to my dismay, i didn’t realize I was being observed by a distinguished gentleman. He was a discreet admirer and only after i had finished did he approach me. His first words where that my painting for him was ,love at first sight,or better said in spanish (un flechazo).
He asked to buy the painting and invited me to his office when i had more. This gentleman was to become not only a collector for years of my watercolours but a friend, also introducing me to many other collectors.

My first watercolor on the spot opened changed my future destiny as a painter.

Geoffrey Wynne

Is there difference in approach in paimting in studio and on location?

My approach to studio painting or on location are for me essentially different. Painting still lives or flower compositions in the studio are more or less the same as painting on the spot. The differences
are basically, reference material, time lighting and weather.

Working on location is tangible reality where the elements are in constant change.It takes effort to pack my ruck sack and go in search, climate and light changes, being observed painting and knowing that each day and moment are never the same.With these in mind my aim is to capture a moment in time, to try and breath life into my watercolours.It is a short passage of time where my eye mind skill and experience are in a visual conversation with the choosen theme.

What i learned working outside is to try and breath life into my paintings. In the studio my aim is similar but with the advantages and set backs of using photography...

Extract from a new book by Konstantin Sterkhov "Masters of Watercolor. All about Pleinair"

Joseph Zbukvic on plein air

Extracts from my upcoming book Konstantin Sterkhov "Masters of Watercolor. All about Plein Air"

Joseph Zbukvic is featured in several instructional DVDs.

He is the recipient of numerous awards and honors and his work appears in collections and galleries around the world.

One may say that Joseph Zbukvic sets the standards of the World of Watercolor today. 

THERE ARE NO BAD SUBJECTS, JUST BAD PAINTINGS

"...Every painting begins with the choice of subject, not with the first mark on the paper. Many beginner thinks that going to exotic locations will produce great work. Venice is a great example of this. We see so many paintings of gondolas, St Marks square or Rialto Bridge painted to say the artist was there, with no thought given to composition, lighting, atmosphere or mood."  

Joseph Zbukvic (Australia) painting in Wuzhen, China

Joseph Zbukvic (Australia). 

A subject and the painting on the spot.

"A good painting has magic of its own regardless of the subject matter. A simple still life with couple of quinces or a vase of flowers. A country lane or just a portrait. Mona Lisa is a simple painting and yet it surpasses everything in its fame and appeal. Why? It has that something else that is simply not explainable. You can’t put a finger on it or give a reason, it just works."

Joseph Zbukvic (Australia). 

A subject and the painting on the spot.

"Number one factor I look for when I paint is that feeling of wanting to be in that painting, a sense of presence. Second is the composition and quality of light. Then I simply paint and hope that magic takes over. If it doesn’t, it goes into the reject bin. 

Artist’s job is to tell a story, not just paint a picture."

Joseph Zbukvic and Alvaro Castagnet painting on the spot in Shanghai

Read the whole article in my upcoming book Konstantin Sterkhov "Masters of Watercolor. All about Plein Air". The release is expected in October 2019.

www.josephzbukvic.com

Joe Francis Dowden

Extracts from my upcoming book Konstantin Sterkhov "Masters of Watercolor. All about Plein Air"

See the master`s demo at Lilleshall Hall, Shropshire, UK in May 2020, Tickets are still available at WWW.SAA.CO.UK/MASTERS

Joe F. Dowden has exhibited at prestigious shows as Royal Institute of Painters in Watercolour, Laing Art Exhibition, Chichester Open, British Modern Masters, Royal Society of Marine Artists.  

Joe is an author of books and magazine articles published worldwide. He presents TV, DVD, seminars, demonstrations. He has been a panel Member of the SAA.

"...At six years of age I did my first plein air painting in watercolor. An artist friend of my father took me painting. My family lived near the railway. Locomotives made clouds of steam with incandescent cinders shooting skywards like fireworks. This display of fire and water inspired my work."

 Joe F. Dowden (UK)

"Many techniques get me this fire, or light. Spattering masking fluid with a toothbrush gives sparkling light. Applying it with a hog hair brush gets sun glinting on foliage. Using big contrasts from white paper to intense dark gives power. Understand tradition but don’t let it limit innovation. Try everything. I paint extremes. I use bright color, but value, or light and dark, is number one, not color. I sometimes tell students; “Value has nothing to do with color, but everything to do with how colorful it looks”".

  Joe F. Dowden (UK)

"It is easier to paint open country, wide river or winter scenes. Complex woodland scenes require careful handling. Special techniques include spattering paint into spattered water and letting it merge. Painting into dragged water gives tree texture – I call it water feathering. Multiple layers of paint spatter create lights where paper is left dry. Sable brush spatters form dynamic star shapes similar to leaf shadow patterns."

 Joe F. Dowden (UK)

"I work along the small stream called the River Tillingbourne. It runs for 30km through the wooded Surrey Hills. Once I got very hungry when I was painting. I asked a fisherman to lend me his rod. I had never caught a fish before. He told me to drift the line under a nearby bridge. He said there would be a big fish there, (a trout). That fish tasted great. I don’t know why he didn’t catch it himself."

Joe F. Dowden (UK)

"The River Tillingbourne taught me to paint. It features throughout my Russian book, “Water in Watercolour”. The best lesson I learned was to mix plenty of paint, apply it wet and let it flow. Paint reflections vertically, soft focus, and be content with whatever happens. Changing it makes it worse it. Paint it. Leave it. Apply wet pigment in large quantities, let it flow and leave it alone. I invent nothing, only discover. This was my best discovery. "

Joe F. Dowden (UK)

http://www.joedowden.net

Read the whole text in my upcoming book Konstantin Sterkhov "Masters of Watercolor. All about Plein Air"

Francisco Castro

 Francisco Castro. White street. 100x81 cm 2015

What is the significance of watercolor to you?

The watercolor for me is the means to express the

emotions produced by the different moments of life.

 Francisco Castro. Iceberg II. 80x81 cm 2015

Do you prefer painting indoors or outdoors?

I have gone through different stages. I like the outdoors

for taking notes and references, and the indoors for finishing

my watercolors.

 Francisco Castro. River II. 40x60 cm 2017

What is the difference in approach when you paint in studio and on the spot?

When I paint in the studio I think I am more creative

because when I am in front of the motive it becomes too

important, and I become a little bit of a slave to it. In the studio,

having distance from the motive is good for the creativity.

Francisco Castro. Trunk. 40x50 cm 2015

What is your equipment when you paint in plein air?

When I paint in plein air, I bring my palette, a

few brushes, and suitable clothes for the outside.

What paper do you prefer?

I prefer Arches paper.

Francisco Castro (Spain)

Read the full Interview in my upcoming book Konstantin Sterkhov "Masters of Watercolor. All about Plein Air" Release is expected in October 2019

http://franciscocastro.jimdo.com

Liu Mu Lin, Taiwan

A part of an interview with Taiwanese artists Liu Mu Lin for my new book "Masters of Watercolor. All About Plein Air"

Have you always been painting with watercolor?
Yes,most of the time. Sometimes I also do oil painting, pencil drawing, pastel and Chinese ink wash painting.

What was your first experience of sketching outdoors?
At the student age I always went outdoors with friends using pencil, charoal pencil, color pencil and watercolor for plein air sketch. I practiced hard in the basic to build up good foundation. Now I can finish a 540x788mm watercolor painting outdoor easily.

Do you work more in studio or outdoors?
Mostly indoor. I like to paint in large size but it is not easy to carry large size for outdoor.

Do you paint full size paintings outdoors?
Depends on the subject. Small size for buildings, large size for landscape.

What colors do you use for your plein air palette?
11 colors by Winsor and Newton: Sepia, ultramarine, lamp black, emerald, Light red, cadmiumred pale hue, permanent rose, scarlet lake, Juane brilliant light, Chinese white, leaf green And one Holbein W304 horizon blue.
Read full interview when the book is released this summer...

Liu Mu Lin

Andrey Zadorin - Interview

Extracts from the interview with Andrey Zadorin (The Netherlands) that is published in my book "Masters Of Watercolor V. Portrait and Figure"

What place does portraiture take in your Art?
Portraits as such I try not to paint, but sometimes I'm asked, and then I take them as portraits and do not like the interweaving of additional stories in them.

Andrey Zadorin

Do you limit your palette when you paint portraits?
For the last fifteen years I have been working with a complete palette. It is similar in both oil and watercolors.

What plays a more important role in your portraits - color or tone?A difficult question, but looking as if from the outside, I see that for me the color goes through tone, but the very first sketches I do are generally only tonal.

Andrey Zadorin

Is the light on the model important when you set your portraits?
From the previous answer it is obvious that the lighting is very important - shaping the form, the relation with the background, the color, and just the feeling of air for me goes through the light. As for the model sitting, before the arrival of the model I make many sketches, but always during the work there are surprises, and they are very valuable. As for lighting, sometimes it's natural light, sometimes a short fortune and a lucky ray of sun... Either artificial light, and then the lights aresoffit, but in such cases I do not like complex alignments with different screens, reflectors, in general, the simpler the better.

Andrey Zadorin

How do you find an object for your portraits?
If there is an order, then the question is only how to do it better, and so that the work does not end up falling out of the context of what I'm doing, and so far I have been doing such orders only in oil. As for the painting as such and those works that can be attributed to a portrait, there is no difference in approach in comparison with my other paintings, well, the main thing in this is the mood, the feeling of some detachment, an attempt to achieve the infinity of the moment being portrayed.

Andrey Zadorin

Is it important to know the object personally?
Undoubtedly, unless you take works based on old photos. When I paint whose characters, I can invent life stories, how to empathize and guess their future destiny, but I have done such work only with oil and technologically at the moment I can not imagine how to perform this in watercolors. As for watercolors, even when working after my reference photos, I constantly compare the result with my feelings from the depicted characters, and in this the unquestionable assistant and critic for me is my wife who has her own view of the people I paint, her feelings in relation to them... It happened so that she knows them not worse than I do. Often her small note is enough to send the work back to the very beginning, and for me it is very important.

Andrey Zadorin

Do you rely on your first impression or do you have to examine your model thoroughly?In different ways, there is no recipe here. Sometimes a momentary glance captures the whole atmosphere in your memory and you save within yourself that experienced feeling... It happens sometimes the other way round - an infinite spinning in an attempt to find the necessary solution.

Andrey Zadorin

What helps you to capture the character?
Here you can smile at my arrogance, but it seems to me just a skill. I do not know how to name it differently.

Do you prefer to work with different models every time or can one model inspire you for several paintings?
I did not have many models for every time and, if possible, I keep to them. It is important for me that they understand what I'm doing, their kind of attitude to my painting. If I feel it, I treasure it.

Andrey Zadorin

Do you believe that the likeness is not the only thing thatmakesa portrait successful?
Of course, you need something more. 

The book is available here: https://www.abebooks.co.uk/servlet/BookDetailsPL?bi=22886299692&searchurl=sortby%3D20%26an%3Dsterkhov%2Bkonstantin&cm_sp=snippet-_-srp1-_-title8

Geoffrey Wynne

http://geoffreywynne.blogspot.com/

I am working on my new book in series "Masters of Watercolor". This one will be about plein air painting. One of my personal descoveries was this wonderful artist from UK living and painting in Spain for many years. I am happy to share some extracts from his interview he gave for my new book!

What is your Art background?

I was born in Stoke - on Trent, also called the Potteries. At the age of 13 i was selected to attend the small prestigious art school Portland House From 15 years of age i attended Burslem School of Art, to further my training in the arts and crafts.

For as long as i can remember painting and drawing have been an important part of my life and my passion was always for the Fine Arts.At 19 years of age i applied and was accepted at West Surrey College of Art and Design to study painting. I did experiment with watercolors in my last year, working in the style of Emile Nolde` s forbidden watercolors. The first painting i sold was a watercolour.
Later i worked as a designer for Coalport China a member of the Wedgwood Group. In these years I only painted spasmodically. The frustration that i was not fulfilling my passion to paint became to much and at 32 I decided to take the definitive step in my life and dedicate it to painting.To give myself courage I enrolled on the Fine Art Course at North Staffordshire University and for the next three years i threw myself frenetically into trying to find myself as an artist. My true art education did not start until 1987 when i moved to Granada and started to paint watercolors.

This old moorish town with the Alhambra Palace dominating its sky line has held a strong fascination for artists poets writers and musicians. John Singer Sergeant, Joaquin Sorolla, Mariano Fortuny,Arthur Melville, David Roberts, George Owen, Wynne Apperley RI and many more painted here. My first year in Granada i spent most of my days filling sketch books with observations of the daily life, the people in the squares and markets going about their activities.
After a year living in Granada my circumstances changed and it became a necessity to make a regular living. My paintings sold but not sufficient to maintain my new responsibilities. I tried making caricatures in the streets and seaside with some success but the winter months proved difficult. Portraits in pastel was a short lived idea as well.The only thing i hadn’t tried my hand at was painting watercolours. I decided to have a go so i bought some cheap paints paper and brushes and started painting plein air.
So was watercolor painting my choice or did the medium choose me, i would say yes to both, my destiny.

Geoffrey Wynne

Geoffrey Wynne

I decided to sit in Bibrambla, the main square with flower stalls a beautiful fountain, bars, cafes and the cathedral as its backdrop, a daunting theme for my first attempt. After about three hours i felt a little pleased with my results, to my dismay, i didn’t realize I was being observed by a distinguished gentleman. He was a discreet admirer and only after i had finished did he approach me. His first words where that my painting for him was ,love at first sight,or better said in spanish (un flechazo).

Geoffrey Wynne

He asked to buy the painting and invited me to his office when i had more. This gentleman was to become not only a collector for years of my watercolours but a friend, also introducing me to many other collectors.
My first watercolor on the spot opened changed my future destiny as a painter.

Was watercolor your choice or it is the watercolor medium choosed you?

In my case the choice of painting in watercolors was a mixture of destiny, necessity and a certain impulsive trait in my character. For academic reasons in 1985 i visited Granada Spain. I became fascinated with the city and revisited again in 1986.In 1987 i sold up and moved to Granada.

Geoffrey Wynne

Do you remember your first experience of painting on spot?

I bought my paints, paper and brushes and two camping stools, one to sit and the other to rest my palette and water.What i didn’t realize at the time that my future as an oil painter in the studio was finished and i was launching into becoming a plien air watercolour artist.

Geoffrey Wynne

I decided to sit in Bibrambla, the main square with flower stalls a beautiful fountain, bars, cafes and the cathedral as its backdrop, a daunting theme for my first attempt. After about three hours i felt a little pleased with my results, to my dismay, i didn’t realize I was being observed by a distinguished gentleman. He was a discreet admirer and only after i had finished did he approach me. His first words where that my painting for him was ,love at first sight,or better said in spanish (un flechazo).
He asked to buy the painting and invited me to his office when i had more. This gentleman was to become not only a collector for years of my watercolours but a friend, also introducing me to many other collectors.
My first watercolor on the spot opened changed my future destiny as a painter...

Stay turned, my new book is coming this June...

Visit Geoffrey Wynne`s blog http://geoffreywynne.blogspot.com/

My books are available here https://ruslania.com/books/byauthor/83056/sterhov-konstantin?avail=1&language=en

Andrey Esionov - Interview

How did you come to watercolors?   

Six years of study in Republican specialized music and art boarding school, specialty graphic artist, six years of study in Tashkent Ostrovsky `s State Theatre and Art Institute on poster department, at both Alma Mater the subject of the painting at the department of graphic was taught only in watercolor. So this is how I came, but first not to the watercolors, but via watercolor to oil. At the end of training I shifted to easel painting. I returned to watercolors 5 years ago.

Andrey Esionov

How do you select a subject?

The plot is built according to requirements of a classical composition, ie, I select a theme and I work through searches, sketches, sometimes trial washes. The work includes preliminary sketches without fail, if we talk about watercolors based on complex composition.

Andrey Esionov

Which colors in the palette are necessary for you?

Currently, no more than 12 colors: cadmium red, kraplak, ocher, iron oxide, Naples yellow, cadmium yellow, umber, blue, ultramarine, indigo, yellow-green and black.

Andrey Esionov

Is there a preference in the choice of paper, paints, brushes?

Paper by any manufacturer of 600 g. rough. Paints "White Nights" (Russia) in pans and any paints by European production in tubes. Squirrel brushes by any known manufacturer.

How do your individual features are manifested in your watercolors?

If you do not copy off from other artists' works, and stay yourself, your personality manifests as your personal painting style.

Do you think that the easy "incompleteness" only benefit watercolor work?

I do not like the word "incompleteness". If you mean, conscious use of paper white, untouched by paint, why not? If - it does not interfere with the integrity of the picture, or the composition solution, or just intuitively "delicious." If we go on the impressionistic style of writing, so watercolor in my opinion is very thereto.

Andrey Esionov

Full version of the interview read in my new book in series "Masters Of Watercolor" - "On Both Sides of the Great Wall".

Polina Egorushkina - Interview

Artist and illustrator.
Lives and works in Moscow.
Winner of the Prize Excellence Award ( "For excellence") at the International Biennial of watercolor in Shenzhen (China) and Redfern Gallery Prize at the competition of the Royal Society of watercolor (London). Grand Prix "The prospect of watercolors" at the international exhibition "Masters of watercolors - 2015".
The diploma of the first degree at the All-Russian contest "Book Art. Traditions and search" for the artistic design of the book by Jules Verne's "20,000 Leagues Under the Sea."

Polina Egorushkina

Has watercolor always been your technique?
Yes, I always used watercolor, but a long time, the process was different. I worked on the book illustrations. It was a very painstaking graphic sheets. Now I paint completely free of meticulous detail things.

How did you switch to a large format?
I didn`t. Even my original illustrations were always several times larger than in the a book.

Polina Egorushkina. Sleep! 80x100 cm 2015

Are your paintings united in series by some idea?
Yes. There is an idea that emerges and that just does not fit in one painting work, this is how a series emerges.

What appears at first - an idea or a formal desision? Does it happen that some abstract design idea gives a theme and a name to a series?
No, it does not happen, the idea always in mind before you start. For me, all attempts to act in reverse order look like something artificial.

Polina Egorushkina. Boulevards. 80x100 cm 2014

What is the percentage of spontaneity and planning when working on the painting?
A huge percentage of spontaneity. That's all that brings joy! I always work on wet paper without a pencil draft, so that nothing paralyzed the process. A thought can always wag and the whole idea can change, at this point you do not want to see on paper any limiting sketch.

How do you feel about the finished work? Do you feel any connection with them?

Of course. They are all very dear to me. I remember what mood I had in each work, what were troubles at work. And I like to see how it all came together in the end.

Polina Egorushkina. Empty. 80x100 cm 2015

Do you have limits or regulations in working with watercolors?
Definitely no prohibitions. No regulations, too... The only thing - I usually make no amendments, when a layer of paint has dried. I proceed quickly.

On what paper do you work?
Arches, Canson

Do you use flat or round brushes?
Any brushes.

Polina Egorushkina. The Grey Skyscrapper. 80x100 cm 2014

Do you see the works of other artists?
Rarely.

What did you give the reward in the Shenzhen Biennale?
Great joy and a trip to China.

Your advice for beginners watercolors.
Be brave and sincere in your work.