Flowers From Finland

I just came back from 2 summer courses those I was teaching in Finland. Here some painting I made as a demonstration at the course.

Konstantin Sterkhov. Roses. 25x35. 2011

It`s always a great deal to make a dosen student to understand and master watercolor technique within 5 days. At least half of them took a brush after 30-years break or had never been taken it before.

Every summer the program of these courses combined all possible topics for painting. Within 5 days students learnt how to paint seascape, sky, landscape, flowers, cityscape, animals and portrait in watercolor. The creative atmosphere of the course helps me to develop and improve a system of combining a demonstration in a studio with guiding students work in plein-air.

Konstantin Sterkhov. Rocks and Splashes. 20x30. 2011.

The general plan of the 5 day course was like that. First came the air and water. These objects helped students to relax and use a lot of water without thinking of details. They could actually better feel the watercolor technique and take care only of transparency, color and freshness. It gave them a general idea of watercolor  and they kept to it when they painted more complicated topics.

The next was landscape and greenery. There was a lot of nice scenery around the college. You could find the student everywhere painting the surroundings. The trick here was to teach them harmonize the bright colors and to keep the work fresh. The day of painting flowers looked like a celebration of something. Students brought bunches of flowers from their gardens or from the fields, flowers were in bouquets and single in many vases everywhere in the studio and outside. Students were examining the living beauty and transforming it into colors and shape.

Konstantin Sterkhov. Sacura: pinks and greys.

In the end of every course we have an exhibition were both a teacher and students get a lot to learn from each other. The next course will be in Sweden. Looking forward the new experience! The topic is animals and portraits.

Konstantin Sterkhov. Cat and Side Light. 25x35. 2011.

Turku Watercolor Symposium Impressions

The European Confederation of Watercolor Societies - Turku, Finland, 30, June - 3, July, 2011

Piet van Leuven. Aquarelinstituut van Belgie. On Cruising Speed. 2010. 75x55

Matias Sanso. Grupo de Acuarelistas de Baleares. Marea Baja. 51x70

Claudio Bertona. Associazione Italiana Acquerellisti. Tortilla Flat. 2010. 73x54 

 Claude Lepage-Racine. Societe Francaise de I`Aquarelle. Bretagne. 2010. 55x78

 Angelo Giraldoni. Associazione Italiana Acquerellisti. Lofoten, The Factory Cods. 2010. 74x54

Nador Mikola. Honorary Member of Finnish Watercolor Society. Untitled. 2001

Finnish Swan (Suomen Joutsen), the place of the exhibition.

New Painting by Eugen Chisnicean

Very strong and confident brush strokes! Limited palette but perfect tonal contrast. Something really inspiring!

 Eugen Chisnicean. Low Tide, Arcashon, France, 75x35

http://eugenchisnicean.com/

I Love This Abstract Series!

The International Symposium in Turku in June 29th - July 3th 2011. This abstract series is absolutely my favorite!

Marja Koskiniemi. Shadow Waters. 56x76 cm

Marja Koskiniemi. Merelta Tulee. 56x76 cm

Marja Koskiniemi. Break Of Down. 56x76 cm

Thomas Shaller`s Master-Class

Yesterday I saw it on Facebook. It`s so fascinating! I believe any watercolorist would enjoy to see the process, materials, colors, brusher, stages of work. So here is Thomas Shaller for you:

While hiking near assisi, italy, i came upon this beautiful view. the fading umbrian sun behind the towers of the hill town softly illuminated the valley with golden light in the distance below. i had only my sketchbook and cell-phone camera with me ....

My sketchbook is with me always and i do very quick value/composition sketches of anything i may wish to paint - either there on site, or later in the studio. these sketches are essential for me to identify what the real "story" of the painting my be - what should be light, what should dark, what to leave in, and what to leave out.

Often i will add a splash of informative color on my composition sketches and even add written notes to record my impressions if i cannot paint the scene right there on site. these are not intended to be "pretty" drawings - just quick graphic ideas. i will use these sketches later as my "map" for the final painting so that i can quickly recall what it is that first impressed me about the scene.

VI International Biennale “ART-BRIDGE”

INFORMATION LETTER

Dear colleagues,

  Saint-Petersburg Public Organization “Society of Watercolor Artists”  welcomes you to the 6^th International Biennale “Art – Bridge – Watercolor” which will be held from December 21^st, 2011 to January 8^th 2012 in the exhibition centre of Saint-Petersburg Union of Artists.

The Exhibition includes the following activities: master-classes, press-conferences for local and international mass media and round-tables.

TERMS AND CONDITIONS

-         any watercolour artists’ society may submit 5 works – 1 to 2 works from an author (deadline: September 29, 2011);

-         any author may submit only one work separately (deadline: September 29, 2011);

-         for the catalogue authors should submit their works in TIFF on a CD (deadline: September 15, 2011). The CD should include three files:

Carol Carter`s Rainbow

Here is an interview with an american artist Carol Carter. When I first saw her works I was shocked how different is her color perception from my ideas about the color. I live in the North, we generally have not so much sun light. Carol seems to transform the sun of Florida into the pure painting - all colors of the rainbow radiate from her watercolors and acrils.

Carol Carter. Google Me. 22`x30`. 2007

I am surprised to have a very dualistic impression of tension and peace at the same time. Water has a soothing, chilling effect, but your colors seem to explode all little parts and parcels of the rainbow.  In what state you find yourself while working? 
I am usually just focused on painting.  I don't really have a state-of-mind when I paint.  Painting generally takes me to a different place from my daily life -- by the end of time in the studio.  There is tension in my work -- but more a formalistic one.

Carol Carter. Rainbow I. 30`x22`. 2007
How did you start painting, what made you choose watercolor? 
I chose watercolor early in my career because it was the only painting medium offered at my college.  I didn't learn acrylic [opaque medium] until I entered graduate school.

Texture In Landscape

Here is a short video extract from my tutorial watercolor video "Autumn In The Mountains". Lets see what can we learn from it.

1. I used splashing. I did it in 2 ways - on wet and on dry. Certainly it created different textures. I used it for general texture of leaves.

2. Half-loaded brush on dry. Used for a big masses of colorfull brunches. The brush is quite snaggy.

3. Small squirrell or sable brush. Painting single leaves if necessary.

All tree ways of making texture are good for completing the painting work.

Indian Memories

Something 15 years ago I had a comission of a series of international children portraits. It was for a Children rights protection organization. There were a calender and postcards published. I am posting here an Indian highlights as my favourite.

 Konstantin Sterkhov. Indian Bride. 1996

Konstantin Sterkhov. Indian Boy. 1996

Flash Back

I found one of my old watercolors. I used a different technique those days. It was many transparent layers. Now I tend to paint the whole thing all at once. But it was nice to remember...

Konstantin Sterkhov. Statue in the Park. 20x30 cm. 1996

Watercolor Of The Day

I saw it on Facebook! So touching)

Teo Van Der Broeck

Thomas Shaller - New Work

New exelent work by Tom. Enjoy!

Thomas Shaller. Portico Assisi. 22`x16`. 19.05.2011