Featured art by Cathy (Crias).

A special congratulations goes out to the scratchboard forum on WetCanvas! Four members have had work selected as finalists for the BBC International Wildlife Artist of the Year Competition. The contest had 1,120 entries and they narrowed it down to 127.

Cathy (Crias) had five works make the finals, Katy Rewston (rewston) had four works selected, Allan Adams (aaces) had two selected (out of two), and Karen Neal (Kaz in NZ) had one work selected.

Extend your congratulations and see more from these artists!

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 To get an idea of what catches a juror’s eye, view galleries of  winning paintings from previous Watermedia Showcase Competitions here.

Now, what are you waiting for? Send us your best watercolor paintings today!

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Ratindra Das demonstrates his loose watercolor style for the Southwestern Watercolor Society. Workshops provide good opportunities to challenge yourself; Das advises attendees to “be prepared to enjoy the struggle and frustration that come with creativity.” Photo courtesy of Ratindra Das

Painting workshops aren’t inexpensive—a two-day session will cost about $175 to $200, and a weeklong workshop typically starts in the $500 range, not including food and lodging—but they’re an investment in your fine art future. To really get your money’s worth, it only makes sense to prepare as much as possible. We asked four popular  watercolor workshop instructors—Mary Alice Braukman, Eric Wiegardt, Birgit O’Connor and Ratindra Das—for their take on how students should enter into a session. According to them, a little pre-planning goes a long way.

Selecting an instructor

Is it best to study with an artist whose painting style is similar to your own, or is an opposites-attract approach more helpful when selecting an instructor? Wiegardt sees both options as beneficial: the former for “reinforcement and fine tuning,” and the latter for breaking out of a rut.
Braukman advises prospective attendees to look in all directions. “Students should be looking at various instructors’ work that they like—from exhibition catalogs, juried shows, books, videos and even Google,” she says. “This includes work similar to their own, as well as work different from theirs that makes them think and want more. If the class focuses on a technique that you definitely don’t like, then don’t take that class. Choose one that will open you up and make you grow.”
Often artists will study with the same instructor, says O’Connor. “Sometimes there’s one instructor and style that resonates with you and studying with them helps to reinforce what you’ve already learned,” she says. That certainly was the case with Wiegardt in his student days. “I studied under Irving Shapiro for two years, daily at the American Academy of Art, before I felt I had a grasp of what he was conferring upon us,” he says.
The search for a workshop instructor starts within, according to Das. “A potential student should make an honest assessment of his or her painting level (beginner/intermediate/advanced) and check the compatibility of the instructor’s personal philosophy,” he says. “A bit of research about the artist’s credentials will help; most instructors have a website, and published articles, blogs and books can also provide insight. Above all, word of mouth is the most helpful way to get an idea about an instructor.”
O’Connor agrees on the value of peer recommendations. She advocates getting fellow artist friends’ reactions from workshops, reading testimonials or getting information from art organizations.
Once you’ve selected an instructor, start checking out their workshop schedules. Note: Schedules are typically made two to three years in advance, with registration opening six months to one year prior, so looking at least one year out will give you a good start.

What to bring

Birgit O’Connor’s workshop students typically work on the same composition, but each artist is welcome to paint whatever she chooses. Photo courtesy of Birgit O’Connor

Aside from items on your materials list, which O’Connor advises buying at least three or four weeks before the workshop to allow for delivery time, there are some other items you might want to bring with you. Old or unfinished paintings are useful in Braukman’s workshops, as they can be recycled in the form of a collage or simply painted over. Braukman also advises bringing a familiarity with basic design rules—“because we will be breaking many of them,” she says.
It’s a good idea to experiment and familiarize yourself with the recommended materials. This will save lots of painting time in the session. And don’t be afraid to contact instructors if you can’t find an item or if you’re confused by something on their list; in many cases, they’ll have items available for purchase. O’Connor, for example, offers large sable/synthetic blend and natural brushes that are hard to find in stores. “I’ve seen too many students go to the art store, spend too much money on the wrong products, and then ultimately return them,” she says.
That said, she doesn’t recommend skimping on supplies either. “If you’re going to invest in a workshop it’s a good idea to have as many of the suggested high-grade materials as possible,” O’Connor says. “The right kind of paper, paint and brushes make all the difference in the world for a successful experience.”
Das and Wiegardt recommend bringing a portable easel for painting on location, and Das adds a backpack, for convenient transportation of materials. Also recommended: a notebook; a camera, for your own photo references and images of the instructor’s demonstration; and possibly even a video camera, if permitted by the instructor (although most have their own videos available for purchase, so they may not allow video recording).
To an instructor, the right mind-set is the most essential thing an attendee can bring. “Attitude is all I care about; I can help a student at any skill level,” Wiegardt says. Das agrees. “And be prepared to meet fellow artists whose goals aren’t necessarily the same,” he says. “A workshop is not the place for competition or making a masterpiece.”

How to act

O’Connor takes her students through her painting process step by step. Photo courtesy of Birgit O’Connor

Common sense and rules of etiquette apply: arrive on time (10 to 20 minutes early, if possible); turn off mobile phones; don’t talk over the instructor; and don’t hog the instructor’s time. Be ready to work, challenge yourself and handle constructive criticism.
During a demonstration, you want to soak in as much as possible. O’Connor and Das recommend taking notes; Braukman and Wiegardt advise just relaxing, absorbing information and asking questions—but only those pertinent to the demo.
The issue of individual attention is always tricky. “Paying attention to everyone with an equal amount of time isn’t always possible, however desirable it may be,” says Das. “Overall, my class can expect about half a day for general guidance. Demos and lectures take up the other half.” Wiegardt feels the same. “A student who expects hand-holding is hard on me and the rest of the students,” he adds.
If you’re convinced that working extra hard each night after the session will help you get ahead, think again. Instructors recommend taking it easy. “Read about an artist or simply unwind,” says Das. The most you want to do, perhaps, is prepare your supplies for the next day.
Braukman simply advises students to study their own work at night. “Placing the work in a different setting will give new insights into necessary changes,” she says. Wiegardt’s workshop nights are homework-free. “We’re all too tired from a full day; relaxation is needed for the next day. Painting demands a fresh mind, not a tired one,” he says.
Critiques are a significant part of the workshop experience, and rightfully so, but that also means voicing your thoughts on others’ work—and hearing comments about your own. Fear not, says O’Connor. “The critique is to show you what’s working and what isn’t, and when it’s done in front of a group it can be very supportive.” It’s all part of broadening the learning experience, according to Wiegardt. Das concurs. “It’s not meant to salvage a piece or shower a student with praises. It’s how to take the next step forward,” he says. Self-assuredness is key to Braukman, who adds, “It helps when the student whose work is being critiqued doesn’t take anything personally and holds onto his or her confidence. Constructive criticism is good for everyone and is needed.”

Keep it up

Mirrors placed strategically in the room in a workshop in Venice, Florida, help students see what Mary Alice Braukman’s doing at her demo table and help her keep tabs on their progress. Photo courtesy of Mary Alice Braukman

When the workshop’s over, the real work begins. But paint on, say the instructors. “It takes time to assimilate the information given during a workshop,” Das says. “Just dive in and use the information to paint instead of waiting for weeks and months. Allow yourself sufficient time in your studio to work at your pace.” Wiegardt warns about a post-workshop slump. “Students should be prepared for what appears to be a drop in quality in their paintings,” he says. “This usually follows a breakthrough in painting as the new ideas are getting sorted out. Continue to paint and don’t demand too much of yourself. With continued effort, the paintings will work themselves out.”
Keeping at it and giving yourself space are paramount during this time. “Continue to push and experiment,” says Braukman. “Study other artists’ work, go to galleries, museums, art centers. Put past paintings up and compare them to what you’re doing now. Have they changed, and do you like what you see?” O’Connor advocates carving out windows of work time. “If it can’t be every day or a few times a week, make an appointment with yourself when you can have at least three hours of uninterrupted painting time. The more time you have to practice, the better painter you’ll be.”
As for when to take the next workshop, the consensus is clear: Give yourself some time in-between sessions. O’Connor says most students like to take one big workshop each year, and Das recommends waiting at least six months before taking the next one. “Before I was teaching,” Braukman says, “I took three workshops a year and spread these out during that time. I believe you need space between sessions to apply what you’ve learned. If you see yourself repeating or are in a rut, this may tell you it’s time to take a class. Don’t stagnate, create! And stay excited about art.”

Jessica Canterbury is managing editor of Watercolor Artist magazine.
Excerpted from the April 2010 issue of Watercolor Artist. Used with the kind permission of Watercolor Artist, a publication of F+W Media, Inc. Visit www.artistsnetwork.com/magazines to subscribe.

Shown here are three Heilman pastel palette boxes stacked one on top of the other. Filled with pastels, the Backpack Box weighs in at 8 lbs.; the Original Box 13 lbs.; and the Large Box 18 lbs.

The literal definition of an artist’s palette refers to the surface upon which pigments are arranged for the purpose of painting. By extension, in a figurative sense, it also refers to the selection of colors arranged upon the palette. In wet media painting, this selection can be limited to a few basic pigments that represent the primary colors of the color wheel, plus white. In the case of wet media, variations of color, value and chroma (intensity) will be created through mixing. For a dry media, like pastel, an expanded selection is required to produce similar results. The total number of sticks required is ultimately dependent upon an artist’s preferred technique of application, the subject matter they most frequently portray, and their personal temperament. While these aspects must be taken into consideration, there is another that simply can’t be overlooked if the palette is to serve the pastel artist well: Where will it be used?

What Size of Palette Box? Before rushing out and purchasing the largest pastel palette box available, ask yourself: “Will the palette be stationary in the studio, transported to classes, or utilized for plein air painting?” Pastel sticks are inherently heavy due to the composition of their pigment, many of which contain metals. Add this fact to the base weight of a sturdy wooden palette box and you can easily end up with a palette that is too cumbersome to transport.

Add It Up. Before purchasing a palette and filling it with all the pastels you’d like to have available— which takes considerable time and effort, let alone expense—take a lightweight cardboard box and fill it with the pastels you hope to use and weigh it on an accurate scale. Then check the empty weight specifications from the palette box manufacturer, usually available on their websites. Commercial manufacturers generally offer an assortment of sizes to accommodate various scenarios. Add the weights together and take this into serious consideration before committing to a box. If the box will reside in your studio, a larger palette filled with an expanded range of pastel selections may be appropriate. If you plan to regularly transport it to a class, a medium-sized palette may suit your needs better. If, on the other hand, you wish to venture forth and paint en plein air, the smallest palette that will hold a minimum assortment of pastels may be best. It’s amazing how much a pastel palette can weigh you down after a day of lugging it through an airport or down a country road. After experiencing this a few times, it becomes much easier to downsize the palette and embrace the old adage “less is more.” Of course, if finances allow, a pastelist may want to have all three palettes. Wait; is that want or need?

Click here for a peek at the pastel palettes that Richard McKinley uses for studio vs. plein air painting.

Get more expert advice from Richard McKinley in his instructional videos. Watch a free preview here!

MORE RESOURCES FOR PASTEL ARTISTS

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• Get unlimited access to more than 100 art instructional ebooks

• Find pastel painting downloads, books, videos & more

In this free one-hour online event, Sandra opens up the pages of these Home Study Courses and gives you a sneak peek into Paint Like Monet in a Day with Colored Pencils and Draw Flowers 101, sharing some of her favorite tips:
•    2 magic tricks to turn anyone into an artist really fast
•    Common pitfalls and how to avoid these mistakes
•    How to draw a rose in graphite, step by step
•    Review of basic colored pencil materials
•    How to draw on black paper with colored pencil, step by step
•    An introduction to watercolor pencil

This PowerPoint slide show from Sandra will give you a sneak peek at the instruction found in Sandra’s Home Study Courses, Paint Like Monet in a Day with Colored Pencils and Draw Flowers 101, and wraps up with a Q&A session.

Use coupon code MAYFLOWERS12 to save over $100 off the retail price of Draw Flowers 101 and Paint Like Monet in a Day at NorthLightShop.com!

“You need extensive drawing knowledge to work with pastel or else you’ll make a mess. Draw with graphite, charcoal or Conté crayon, from life if possible, every morning or every evening. Carry a sketchbook wherever you go.” ~ Sam Goodsell

Read more about Goodsell’s pastel still life paintings in the feature article “From the Ground Up: Choosing the surface and deciding on an undercolor are the first steps in creating gorgeous pastels,” from the September 2011 issue of The Artist’s Magazine.

Here are a few more techniques to consider trying:

India Ink Method: A simple way to create a value underpainting is to use permanent India ink, consisting of carbon black, gum and shellac. Utilized since the Renaissance as a means for creating a permanent drawing in advance of over painting, a pastelist can dilute the ink with water to produce a variety of value washes. Once dry, various colored underpainting techniques can be applied without altering the underlying value design. If you plan to use water-based techniques over the value underpainting, be sure to obtain the permanent version of India ink.

In the alcohol method, I've blocked in the initial values on Wallis paper using a dull violet hard pastel set, which I then set with denatured alcohol and a brush.

Alcohol Method: Denatured or isopropanol rubbing alcohol are used by many pastelists as a method for “setting” initial layers of pastel. Since alcohol is capable of softening certain acrylic products, and most gritty pastel surfaces utilize acrylic in their binders, it is best to test its effects before committing. Some commercially available surfaces accept it with no visible signs of change, while others demonstrate extreme change. One popular surface that falls in the middle is Wallis paper. The application of alcohol slightly softens the outer layer of the surface, allowing the wetted pigment to become permanently embedded in the surface. Once dry, a number of transparent techniques can be applied with no visible effect on the underlying value underpainting. I like to start with a neutral-tone hard pastel (charcoal or graphite can also be used) to mass in the value design on the Wallis paper. Next, I wet the entire paper with alcohol to embed the pigment. I use a brush but a spray bottle can also be employed.

Once the alcohol has evaporated, I can come in with watercolor to complete the underpainting.

Once dry, any number of underpainting techniques can be applied. One of my favorites is watercolor. Since the alcohol dries quickly, the initial value underpainting will have a broken brushstroke effect. This shows through the subsequent transparent washes of color, producing a painterly substrate.

It’s important to experiment with all the techniques I’ve described to make sure your surface can tolerate the procedure. Keep in mind that each underpainting layer will darken the appearance of value. If your plan is to apply many layers, it is wise to make the initial value layer one or two value shifts lighter. By starting with a permanent value layer, you will be free to creatively experiment without compromising the most important element of a successful representational painting—value.

Get more expert advice from Richard McKinley in his instructional videos. Watch a free preview here!

MORE RESOURCES FOR PASTEL ARTISTS

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• Get unlimited access to over 100 art instruction ebooks

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• Find pastel painting downloads, books, videos & more

The canvas for this painting is the Cactus Dome, located on the sublimely-remote Runit Island in the Pacific Ocean. Erected by the United States Military between 1977-1980, the dome shelters roughly 111,000 cubic yards of radio active debris from the Bikini and surrounding Atoll islands, which was contaminated during the U.S. Military’s nuclear testing period from 1942 to 1962. The debris resets in a nuclear-blast crater created by the test-explosion of the Cactus Bomb.

The Cactus dome (right) on Runit Islant

Largely forgotten, the Cactus Dome has long been declared safe, but was off limits until now. With special permission from the Marshallese government, Bikini Lines has adopted a crowd-sourced approach to the design, painting and documentation of this project. All artists, photographers, writers, filmmakers, financial backers, producers and corporate sponsors are invited to become involved. Current design submissions for the Cactus Dome project can be viewed here.

Cactus Dome (ground view)

Additionally, the Bikini Lines Production Team will produce a feature-length documentary about the design and painting process for the Cactus Dome. Donations are accepted; all proceeds from the documentary will go to the Ashinaga Foundation, a non-governmental organization that cares for orphans of natural disasters. Founders hope to raise a substantial amount of money for benefit of the Japanese children orphaned in the earthquake and tsunamis of March 2011.

Artists, photographers and writer/bloggers, who are interested in becoming involved with the Bikini Lines Production Team can submit their designs/proposals here: http://www.facebook.com/pages/Bikini-Lines/306849166003511.

MORE RESOURCES FOR ARTISTS

• Watch art workshops on demand at ArtistsNetwork.TV

• Get unlimited access to over 100 art instruction ebooks

• Online seminars for fine artists

• Learn how to paint & how to draw with downloads, books, videos & more from North Light Shop

• Subscribe to The Artist’s Magazine

• Sign up for your Artist’s Network email newsletter & download a FREE issue of The Artist’s Magazine