Professional Documents
Culture Documents
PASSION FOR
WATER
COLOR
STEFAN
DRAUGHON
$21.95
U.S.A.
PASSION FOR
WATER
COLOR
STEFAN DRAUGHON
Believing that strong feelings
strong
art,
make
tor
artist
for
readers to
self
a3
through
medium
as
it
drips,
from the
how
inside,
to develop paint-
with inner
life as
to
PASSION FOR
WATER
COLOR
PASSION FOR
WATER
COLOR
PAINTING THE INNER EXPERIENCE
DRAUGHON
WATSON-GUPTILL PUBLICATIONS
NEW YORK
FOR
DA
ACKNOWLEDGMENTS
Thank you
to
those
who made
this
book possible:
my
to all
also to Lewis Falb, Henry Spitz, Sarah Lewis, Marika Krech, Bernard Kirsch, Robin
Candace Raney,
ness
to this
and
to
so
many
in
giving
it
me and my
shape. And
to
my husband,
David
Hertzberg, without whose love and intelligence this book could never have been.
New
book were
in this
SoHo
in
at
in
"Art
New
Psychology from
in
New
of her paintings
Rhode
and drawings
at the
some of which
Broome
Street Gallery
are reprinted
in
Manhattan's
district.
BR BR
Capp
ND2130
2000x
.D73
Text set
in
Berling
is
ISBN 0-8230-0102-4
All rights
reserved.
No
may be reproduced
2000
2 3 4 5 6 7 8 9
Printed
in
08 07 06 05 04 03 02 01 00
Hong Kong
used
in
any
First printing,
or
permis-
Contents
PREFACE
INTRODUCTION
one
The Basics
A
two
s s
m ptions
This Book
12
Medium
23
of
The Watercolor
it
24
es
Approaches
and
the
41
They Raise
42
Approaches
4 6
5 2
Approaches
CUTE
5 7
IS
62
Approaches
74
78
Approaches
IT'S IN
8 6
MEMORY
88
96
Approaches
WHO AM
I?
SELF-PORTRAIT
Approaches
IS
ART BEAUTIFUL
10
1
FLOWER
MAKING CONTACT:
PUTTING
Appro a c h
four
10 4
HOLY PLACl
h e
IT
112
Approaches
Ap pro a
98
116
\2\
124
1
J 3
137
142
INDEX
144
138
P
I
when you
Even
if
if
you've had
hook
little
may
move
my
directly
hook,
my
They Raise"followed by
concluding thoughts.
It is
path as an
artist,
own
rather than
to see
what
watercolor
worth-
certain point in
decided to take
it
my
chance-
could do with
my own
way. Tired
find
path
my own wayand
is
When
that
is
for
some experience
still
in
is
for
watercolor.
want
to read
"The
you
Basics,"
hut
lost
whole and
satisfied
and
myself,
feel
with
see painting as
way
and secure;
felt safe
was part of
group. But
it
ual tradeoff
between belong-
ing
make me
I
when
what I'm
like
feel iso-
my
and
development
painter
more
is
painful than
being physically or
cally alone.
as a
And
artisti-
always
I've
new
known
for years.
a while,
may
It
take
way
to
periods of what
call
"regrouping," of losing
aspects of myself as
for
new
ones.
reach
Without
process of change,
some
this
feel less
alive
with
my
My
life.
husband
ried a process.
says
He
he mar-
did.
And
Change
is
still
and
Is it
feels
that's
for
worse to me.
It
me
than change.
find.
Introduction
I
walk between
chology or saw
a client,
my background
or
that
lite
art
was an
in science.
with time,
pleasure o{ finding
watercolor
my own
my
its
medium
own
my
tor
way.
It
my
my medium and
reflects each
microcosm
me much
I
it,
of
Its
is
color
the touch
true
is
contact between
impression on
Doing watercolor
of
it
us.
It
has taught
didn't think
and
life.
is
it
is
air
markeach recorded
it
more
It,
forms puddles,
drips,
ever-changing feelings.
and transparent;
is
adventure.
always
art. I've
of
farther From
the perfect
is
But now,
intellect.
of the
moved
I've
in psy-
scientistin spite
And
than
artist rather
And
taught topics
all
this
at
Yet,
all.
consciously thought:
in large ptirt
consist oj
should do watercolor.
Not
at
all.
97 percent water
Most
it,
felt
certainly never
or The earth
is
covered
life
Instead,
knew
thought:
the
it
way
now.
looks.
it
No
way
love the
And
love
moves,
it
still
and
tex-
do
ties that
permit
it
viscosity
and
density.
its
to
that: its
I
cannot
having
it
stay put.
interaction
need an
between
me
and
fluid watercolor.
Of course,
don't
mind
that
of the future.
It
ronmental dangers.
It
doesn't
throughout
But the
even
life,
when we
medium too
to emotional experience.
a
passion for
And
I'd like to
This
a series
Passion
it.
am
range of expression,
its full
It is
is
powerful because
potentially
contagious.
is
book supplemented by my
of ideas about
most powerful
have
it
will receive
it is
sensitive
how
my own
experience in making
presented.
of choice
medium
deserves. Watercolor
it
can be the
the devotion
it
one
idea, or
make the
art.
tools
in
art,
although
There
is
noth-
which they
are
marks is
a possible subject
Each subject
area, for
colors, shapes,
of paintir,^.
example, animals,
Then
list
try
is
ferent
on
for size.
if
a general
first
my
viewed from
model of my approach
to
Some approaches
in color,
as a
is
focus
composition of abstract
are dif-
my
are as a painter
hope
in freshly fallen
snow.
The
Basics
//
llnit is
an assumption.
eas) to con-
It's
fact,
exist,
about
And
it.
control,
they arc more powerful. This might sound odd, but think
an idea out
which makes
its
of
our awareness
is
also outside*
it
is
our rational
hidden from
us.
Discussed on this and the next several pages are four major assumptions of this hook.
what you
believe.
Knowing them
If
will
we were engaged
me, and
of
my
in a
clarify
my
But with only the printed page connecting me, the writer, with
addressed. That's
why
it's
important that
NO
RECIPl
First, this
is
of this
make
hook
are,
clear
from the
and are
start
not.
not
"how
to"
book
how
in
we
start
out with
or use pencil in combination with watercolor, and then set about solving that
I
problem with
12
And
believe in
and so on.
no
single
one problem,
it
all
questions. Instead,
on
when technique
light
solves
What
this
book,
have
passion.
is
a passion for
how
How
does
it
serve
me when
How
I
spontaneity.
My
does
title of
aim
it
We
lost.
watercolor,
its
in
in this
begin?
book
How
is
does
to
it
show you
develop?
13
and need to
mme
my
artistic process?
Specific steps,
know
best.
it
believe that
What
my
my
me
his
his
dreams
own
is
to doing water-
in fresh
ways.
dreams.
le
analyzed them
unlikely to help
me know
in print.
exactly
what
understand
color,
present
my
a
dream.
way
of
In this
work
for
approaching
14
will
one path
is
me approaches
to the'
my
my
preconscious,
work.
for water-
part of
my
from
my
combination of
background
logy,
my
in psycho-
emphasis on
self-
and
my
strong wish to
communicate
ideas with
mean
By preconscious
artist,
work
to
make the
pre-
again,
art.
But
if
you
in a different direction
my
I've
feelings
too, will
get sidetracked, as
into your
call a
from the
"thumb
others.
have
path,"
When
I've
about
it.
15
RONG
INGS, Vis
second assumption
of this
book
in his
political
concerns
he painted.
He
feel
it's
Think about
that
is
ol
it.
and
ol his day,
ol his
shows
clearly
he painted
connection to them
ol trees,
the sun
tree, just
ol ^uns.
any old
humble
little
tree.
Each
portrait ol that
it
women
the beautiful
the intensity
Goya cared
Francisco
me
who
to paint
onion.
in part
because students
the classroom. The same might be said lor following the approaches
in this
16
learn,
book. But
think this
method
differs in
situation. Here,
not exist
at
all.
Any
in these pages, or
isbut
it
a result
If
What you do
will
be
surroundings
not even
a degree,
own
when you
And don't
approaches suggested
are alone
in the personal
an encouraging word.
will
you
It's
you
will
less sincere
whether you
of exploration,
try
them
at
still
and
one
all.
in charge of
it,
in
your
someone
less you,
own
strong as
decisions.
17
NO
APY HER
Till R
through
is
this
book might
psychotherapy.
It is
hook
has nothing to
it
do with
art
therapy or with
oi aesthetic
development fueled by your own subconscious. Whether you understand yourself better or solve your emotional conflicts and
them,
get
little
issue. Painting
Once
meaning.
into
how
it
ol course,
you're on track,
came about,
it
alive
Approaches
The
pain,
point
have
all
to
is
necessary to delve
isn't
to be explored.
is
is.
we
more deeply
done about
it,
unless,
to watercolor
to
But
il
for a
way
oj
as
an
artist.
in this
book
as a
way
to
is
Should
stress build at
any time
in life to
it is
hard to
and
arena;
offers
it
strife.
This book
no treatment
is
for pain of
any kind.
in that
19
DRAWING BINDS
The fourth and
material
final basic
present,
is
STING
assumption
as
much
is
as
of this
hook, implicit
no substitute
for
in all
drawing from
the
life
questions about
reality,
own
artists
art.
You can
learn
have
20
that there
PA
come up
with.
SUMMARY:
A FRESH START
Simply put:
you
start, if
would
If
are dissatisfied
like
them
aesthetically,
to be
then
this
fresh
you
21
ilSL
Two
The
Watercolor
Medium
23
remember
do
plans to
work, taking
But there
was,
my
bought
first
watercolors.
When came
I
knew
exactly
of that time,
From
went
in.
had
To my
my
brushes
chose
cadmium
bought
24
what
oil
had no
six
red
watercolors
light,
in
tubes:
ultramarine
cadmium
blue', viridian,
yellow,
cadmium
orange,
also
sable
and one
larger
home
as if
were carrying
on the
street
knew what
my
final
I'd just
my
spiral-bound, 8"
quality.
a secret like
10" multi-
knowing
exam with
done.
was engaged
to be
No one
how much
flying colors.
And I had no
idea
life.
set
up an old card
table that
it,
ceeded to
fill
my
My two
dry brushes
lay
pro-
from each of
Then
tenderly dipped the small sable brush into the blue paint diluted with
lots of water,
in front of
-m
25
some
vase and
then
ers,
then
flow-
window,
doorway
the
in
distance, anything
saw just
to begin
painting.
When
much
as
done
I'd
could with
The next
dry.
it
as
let
day,
ture,
separate
it
from other
my
could begin
painting,
tore
all
My
wet.
next
from
it
was
it
colors ran
destroyed
removing
had
my work
it
by
from the
pad prematurely. So
I
made another
paint-
Discouraged,
work.
It
But
cally.
looked carefully
It
waited until
The excitement of
scious as possible,
is
not
painting or drawing,
good mind-set
early in
better.
and they
at least
up
made my day go
left for
became my
habit to get
when
my work
criti-
I'm as unself-con-
is
approach to
rently doing.
quality of
Once
own
26
critical
for a
making
it,
my
little
it
me upto
tighten
my work
time
still
makes
me more
or
my
what I'm
cur-
work.
had
figuratively
few
years,
took
wet
a
my
feet
my
The
teacher had been painting in watercolor for forty-five years, and had
been teaching
He
doing.
my
gratitude to
him has
of those
first
routine.
Another
still
attempts
use
palette
at
later,
my
daily
watercolor are
round
still
plastic palette,
you might
try
is
part of
although
used to
use,
a larger
aspects
work
one
(12").
was lucky
many
it
rule
you.
not.
to have
As
it
if that's
it
important to
ferrules.
A fer-
middle-quality,
if
And
still
buy
I've
at least
never liked
my
color preferences.
Now
a few,
you
when you
get
through
prism more
like
the col-
ors of a
colors.
shine light
my palette.
my colors from
and blues on
I
arrange
light
to dark
violets,
and the
other,
it is
mainly
dent of
its
if
27
powerful color
like
be
much
darker than
it
of
softer
often mix
my own
"blacks," using
combinations
Oiue
I've
ol
like
intense
like contrast,
deep colors
for
colors,
let
let
them
28
would
and
it
The danger
is
dry.
That way,
can
and redissolve
colors dissolve
When
repeatedly.
squeeze more
once
a palette
with
its
established
is
order of colors,
that way.
If
want
use
it
my
to change
buy
it
new
palette
and prepare
By the way,
little
leave
that remain
and
let
them
Later,
my
mop up
don't keep
dry.
a color
or yellow.
pure
red, blue,
Sometimes
contrast
with pure
colors,
but that
is
an
opaque ones,
general
nontransparent white
is
helpful,
If
do
it.
feel that
If
you
have reservations about doing that, just look at John Singer Sargent's
watercolors and see
opaque
how
in his paintings.
a limit
on the
My
thirty years.
As we move
do remember that
if
brushes, or any other materials that differ from mine, please use them.
I
sometimes do,
that
too,
paints.
29
A
If
oi
just
way
self
with the
medium
AT
in
.1
in
one
higher
at
at
Ml
lias a lot ot
start exploring,
it
to a board that
it
is
few
at a
time, with
tooth, or tex-
is
raised
about an inch
and
it.
is
"rough*which
oi
is,
range
ot
a sott grid ot
its
individual
wide range of
color,
in
in
Wet
it
in
the right
30
in
in a
tire
amount of wetness
so that
when you
a little play.
Find just
mark
drier
is
making
on top and
you
It
should
get back to
sit
parallel to the
puddle on the
it
it
nor leaves
if it
come out
doesn't
When
your painting
mark
your
first
may not be
dry up
it
and make
It,
top
it.
mark
leaves a small
easy to do at
right. Just
dries,
first,
but don't go
small
made
Blot
it
before resting
a bit
it
on the paper
Now you
is
row
a third
mark
made one
Remember
no puddle
it
may
point of getting to
straight line of
above. This
at its base.
Reload your
know
new mark.
that
once.
If
it's
you do,
whole
left
first line,
means
more than
under the
all.
right
at
water.
the pud-
much
carrying too
leaves
it
If
barely catching
you
lose that
a line
of strokes
row of puddles
in
forming
stroke
new
31
row
puddles
of
at
puddles
of
finish the
left,
and so on,
it,
there
across,
all
is
then
third
filled up.
row
You have
starting
is
from the
stroke from upper leit to lower right, and now, with your
always
is
at a
second row
you
As each
ot strokes.
stroke' "catches
last
any
stroke
at
finished.
strokes? For example, are your strokes mostly reds or blues or equal
new
color of the
all
strokes
is
there
dark, or
alter
some
that
closely at
PA INI
.1
you perhaps
also based
on
should be done
cup,
a vase, a
what you've
32
a few-
before by any
again.
a grid
in
one
and
left to
of you,
will take
sitting,
some time
to complete, but
it
upper
your
SUM'
is
all
of
range
in a consistent way.
Work from
table against a
background
grid,
when you
easily
won't be
show planning
in color
and form,
strokes,
be.
it
It
such that
right side of
should
color.
line above.
WET-ON-WET
Both previous techniques use
ing
as "wet-on-wet."
Immerse
a sheet
sheet should
lie flat
some
play to
it
when you
pick
it
up. If
enough
it
on
all
be
gentle.
the paper
more
easily
so that
immersed too
The
tack or tape
it
is
wet but
down around
dry,
Now, while
is
wet and
first
Watch the
strokes.
how
from the
colors spread
more concentrated
paint through the
water-soaked paper,
producing
a traveling
color effect.
The
brilliant
where
remem-
than
it's
it
looks
when
wet.
33
1)R V
BR IS
II
Some people
frustrating, so "drybrush*
paper
is
ol
barely moist
[ere,
enough
to carry
docombine dry
the
to.
do what most
make your
specific balance ol the two. This can even involve wetting a portion
of the
34
often the
own
is
paper before applying paint, while leaving other sections hone dry.
BLACK INK
Try water-based black ink and see the interesting
achieve by brushing
paper,
it
effects
you can
it
all
through black ink on white paper. Not that we actually see the hue;
rather, the
image
is
it
calls
a bird.
35
XPl
ORE
II
FUR
scumbled whereby
ing in such a
one color
with
it
dry brush
is
dragged across
dry paint-
against another.
You can
36
that
Scumbling produces
color.
ble
way
a relatively
shimmering
The
effect of light
on dark or
is
of
readily visi-
level of variation.
even
who
When
use
as tools to
my
make
distinctive
plastic gloves.
Some
marks
whenever
in
paint,
if
they get on your fingers or are accidentally ingested, so read and follow
the handling instructions on each tube of paint before using
it.
at
other
art,
learn by
making draw-
windows
or the
paintings by Mathias Griinewald for the Isenheim altar have been won-
derful teachers.
you sketch
at a
ing to safety
form
their
museum,
Where
mitted to draw
art
art
is
at
shown
all.
the simple,
me
work, so always
call
if
relat-
in a place of worship,
37
LUSTRA
Finally,
work
II
enjoy taking
oi literature that
worked from
plays, or
it
book
is
that
love
and
illustrating
in a scries of
biblical images,
poems. Search
for
and
38
Think
oi a
try to inter-
other
artists
have been
moved by
novels,
it.
as subject
mat-
is
no one way
somewhere, to learn
how
to.
we
all
need to begin
some agreed-upon
all
of them. Personally,
make
many ways
them
to
wouldn't want
in different
hands
at different times.
o-
Subjects,
Approaches,
and THE
Issues
They Raise
41
Subjects Are
Everywhere
Food
With subjects everywhere, the question becomes: What
Each chapteraccompanied by images
which
to rest
as flowers
child,
food
ol
and
fruits, are
now
will
be
ideas
on
subjects, such
in
each chapter. So
in
let's start
the
with
as subject matter.
1
there and
looking
at
is
it
a daily
in
climb.
We
Chinese carpet
cherries in
made
oi eating, like
in
Mount
Everest,
woven
it
on our
walls,
it,
wearing
remember
is
but
it
as
a beautiful
of wool.
Food
42
Some
paint?
food
my workoffers
context
of
shall
is
is
life; it is
weapon
(to
We
learn that
be withheld or thrown
at
someone);
(you can
medium
tell a
from
its
garbage).
we
source of status
Food
hits us at the
are.
Painting of food runs the full gamut, from the delicate watercolor
images of fruit on
tions of sides of
food
is
a plate
by Charles
Demuth
In these paintings,
is
indirectly
Rembrandt's
a pitcher; Picasso's
Dutch
interiors as in
Vermeer's young
girl
Am
and
isn't really
important?
where
don't think
it is
so.
is
so
43
fundamental to
daily
life
that
it's
impossible to conceive
monumental
painting
oi
have no
the food
in
Egyptian sculpture,
eat
realistic
the person
it
could be
substitute
image
and
will sit
in his
ol a
tells
Why? Because
setting,
how
a lot
us as
any photo-
Perhaps more.
A room
who
eat
Andrew Wyeth,
much about
by Mary Cassatt
in delicate paintings
we
massive pieces
in
about
tell us.
person.
it,
ol
to
And what
We
tell
enjoy pictures
our
when
it
begins to decay?
Can you
Rembrandt made
like^
a side oi
Can
by seeing
palate.
paint decay?
meat
oi
like
But
is it still
What does
food
the smell of
at
o\ Flesh to
be eaten uncooked or made into pie or apple sauce. Or they could paint
their revulsion to eating meat.
Or
paint the
compost
pile
where apple
and carmines
in
move me.
44
it.
But
The beginner
a faintly
is
color,
deep greens,
blues,
and curving
sometimes
and
lets
meld
of the vegetable in
Once
surroundings.
its
seen as weaving into and out of each other, forming an abstract image of
flat
planes or rings?
surrealistically,
becoming
its
becoming an
organic,
on
to "vegetableness" and
is,
cept the forms bring to mind, and finally to letting your imagination go
a little
as if
or even moving.
life
may
Vegetables or fruit
paintingthat
is,
shown
in
also
be part of
more complex
still-life
difference in
from
ing
how
it is
their stems,
jects, too,
they grow
ensnared
large,
painted?
it is still
What about
in their
own huge
leaves
and
them
as
make
table, using
it
models
Yes,
and contours of
also
his kitchen
knew
trees, hills,
hills
looked
Appro
I've
never met an
artist
budget. Food
made
der
it's
often
cornice,
single pear
it
many
in
main
whose
on the surface
objects are
problem
in
positions.
some
in
one
like
of
round shape
46
Gainsborough
them together
did.
Once
it
more
ol its well-
likely to rest
like
is
an orange, which
place.
a single fruit
or vegetable,
over.
as
fnintentionally "floating*
such
all
If
your painting.
lor
pear.
varieties to consider,
\o won-
approaches to consider.
[ere are
you've selected
a tight
ITEM
a single,
PA INT A SINGLl
hos^
who
at
what's
left
on your
Are there
any interesting shapes or colors that move you to take out your watercolors and begin painting? Perhaps a tableful of dinner leftovers will
dishes.
as
47
cup and
will
saucer, can
diner?
table
communicate
who
the picture.
one
What does
If
a portrait of
Do we
on
a plate,
tell
ways neatly
in different
Some people
us about the
to
is
who
has
can
of specific individuals.
compost heap
that's
been
in
in
Or perhaps
moldy lemon
Of course,
if
it
be
48
side, as
It
on
is
need not be on
a
a farm.
it still
Even
a small garden,
Do you
experience
no longer technically
it
has been
living?
/M'.f'"
"
49
symbolically.
What do
mean
oven,
potato, or
coming out
candle, with
no other
way
For
a single
50
fills
in history.
light source.
from
in
the
of
of
life, a
in
time
it,
in
one
history?
SUMMARY:
When
you
UP TO
IT'S
paint,
you
YOU
are in charge,
you
your task
as
that.
in a painting
own voiceyour
and
react,
subject mat-
an
artist.
Many
talented people
who
are
good
at their craft
never find their voice in subject or medium. Perhaps they feel stuck
painting only pretty things, or
ing at the
what others
some others
interesting, paint
will find
it
it
sincerely,
and
sell-
Paint
51
Look Closely
Tree
At the 1992 World's
so that
it
in
roots of
stood majestically
in
Tree."
while
AM
down
a tree,"
leaves,
room with
"A person
Imagine a
02000
tree so full of
more than
my theme
for that
"I
Am
show.
Stefan Draughon
energy
it
dances.
the tree
it.
wrote sounds
TREE
to see the
The poem
floor.
filling
the
me
visitors
in
of
person to be
room
lit
a tree.
where the
roots.
in one.
tree in motion.
Imagine "always."
Imagine tension.
Imagine me.
How did
it
start,
my
trees?
sight of a tree
time in
had
left
years,
left
my
How
and even
studio to
of
its
glass
muse on
Even
as
in
deep
left
my
imagination,
its
later,
52
work outdoors,
turf.
satisfy a
53
Like
my daydreamed
tree,
I,
needed
too,
to escape confinement,
at
other
"
times,
looked
at trees
"tree
aspect of myself,
another chapter of
in
this book).
obsessed, by the
had
the tree
single tree,
caught
my
shapes
with
its
gnarled branches reaching out, lush and covered with clustered pink-
and-white blossoms.
The cherry
I
in
it
if
still
returned to
my
also carried
in
used every
coal, pastels,
I
medium
and
for
back
my
my
of course, watercolor.
I
its
54
mv
tree
and
to allow
its
my
it
of that particular
But when
on top
it
repeatedly.
got back to
of
my
my
stu-
to continue
earlier images.
my
task.
While
immediate adjustments
surround.
once more.
tree, right
opaque enough
image
life
acrylic paint
painted
of
my
visible
to search for
reaching out to
stabilizing
mind.
of
objectively, wisely.
cherry treeengraved
dio,
my
me
was
metaphor
otherwise bare
its
tree
bloom, but
tall
still
in
now,
water-based,
it
was
worked
upon
layer
layer of
paint,
found myself
result.
also
painting on
it
my
Once
idea of a tree,
color
better now.
light
was
not
still
my
paintings.
Again,
was
as
developed
set
as the trees.
and
provided interesting
effects, as
But
wanted
still
Or could
I?
but attached
images. So
satisfied
couldn't stick
cropped them to
was
my
it
back together
again.
to,
also
to,
had
developed
If
all
a set
of
collaged watercolors.
I
based medium.
Dark
Would
acrylic paintings
and on paper,
world.
It
all
and
of working,
my
it
wasn't.
evolving stylethat
"will" helps
my needed
me
They
did.
images with
same aesthetic
would return
itself in
image after
to paint
and
to drawing.
me from
supplies,
water-
ment of my
My
in
show
my way
to find
a solo
and
painting, to organize
still
see to myself,
55
fact,
me
my
will
me
was
back
The buyer
skilled
artist.
to
enough,
ol
brushstrokes. But
need
They were
style. In
my way
or lead
water-
my
con-
made
"too personal."
my
on and off
"style"
intuitive
in
my
can get
It
purpose"
as "general
more
an
once decided
were
that
charge
in
were useless
as
useless in determining
is
dozen pieces
my
alone
will
me
can hold
For example,
astray.
nect
my
But
responsibilities.
me
to
in
at will.
work and my
My
graphic images of trees, but for their essence in paint, for images that
feel
the
both
work can
right. If
may
like
go,
feel
and
in
my
have
I
"tree,"
and
classical
come
must find
my
aesthetic shift
my
art.
could speculate on
that way.
it,
When
is
only one
way my
right,
it is
from baroque
character and
distanced from
what no longer
56
tree, see
cannot duplicate
now from
then,
a painting
must
forget
today that
cre-
As you develop
as a watercolorist,
Here
are
some streams
it
give
to be overwhelming.
constant motion.
animals
come
Admitting
side,
up painting on
all
The wind
into view,
There
is
so
much
in
is
if
you were
to
my
work
case,
it
out-
was
flowering cherry tree, but in yours 1 Perhaps another kind of tree catches
your
step
how
it.
Make
it.
Portray
it
and
again changing the composition, the color, the values of your work,
move up
57
w*
|TF
V^
Wfj
J&
w*^
.-
fij^' ^
IMAGINATION
VO( ."/<
7.1/'
^HnSfe
it
memory and
your
for a while,
conscious knowledge
ol
and now
it
also
from
in
its
your mind's
eye,
and
let
your hand and eye travelnot rush back to those violets or the model.
Instead, even literally turn your back to the subjectsome artists
work
that
See
you
if
like
from imagination
as
not to be
even
as well as, or
as
time
drawing from
life
until the
image
my memory.
life provides me
from
become
my
just
art.
a crutch, so that
On
it
in
both
to
artist
The
from
life
58
memory
of
it,
allows
me
to
be
bound
or stilled by
it.
or overly dependent
on
as
it
it
an
aesthetic resource.
CONSTRUCTIVE
CROPPING
If
dium too
fluid to control as
you
many
technique
oil
painters
Once you
tighter
compositions, your
new
water-
Look
one of your
at
watercolors.
eye
first,
What
larger
catches your
which section
is
most
and move
the
work
it
until
you find
ele-
"clicking"
composition looks
better. After
edge,
on around the
that
first
makes
move the
it
painting, until
stronger and
straightedges
more
pleasing to you.
away again
just to check.
in a
it
and so
way
placement, because once you cut the paper, you can never get
exactly the
it,
it
final
back
before.
59
MODI
TED CROPPING
It
image, leaving
make
and
a larger
it.
smaller, patching
aesthetically complicated.
it.
if
in less tightly
While
it's
on the
an easy option to
get
messy
added
ily tell
60
you make
it
is
we cannot
eas-
extraordinarily difficult. He
and paint
of violets, or any
other focused living subject matter, you will need to look closely at
if
picture
experiment with
it
further?
Look
really
Is
the
closely, learn,
for you.
^^(P^U^j
61
Cute
Not
Is
Enough
Animals
When decided to paint animals, focused on the one other than
my husband or friends about whom cared most: our canary. He
I
seemed appropriate,
since this
in
sing,
and
little
lor
The next
That name
but
knew he was
had
beautifully.
He
in a
good mood, even when construction noises upstairs had disturbed and
agitated
He had
that he
was never
favorite
body positionsjust
much and
so quickly that
ish a line or a
facing aw ay
r
still.
as
me
and
busily eat-
own
fact
repertoire of
when
from
could never
fin-
busy
little
when he seemed
to
be
resting.
why
Then
had trou-
found out
same experience.
Animals often turn their backs to someone drawing them. Perhaps they
sense being watched in a particular
just as there are
being sketched by
Whenever
would
shift
the line as
it
artists.
tried to
from
w ay and
make
painting of
his position to
my
my
little bird,
my
attention
stood for the bird, to the color and the interaction of the
was dry enough to place another one over it without losing the impact
of the
62
first
63
After sketching
Conway
in various positions,
my
drawings, to
took
my
my memory
studio,
where
of
I
dark brown eyes, toning helped to bring his body into relief on
paper, without
Conway
as
64
an
my
my
certainly
artistic subject,
my
could
not get
a series
liked,
for
felt
me.
When
pressure to
went
finally
captured an image of
move along
to the zoo
Conway
a series
As
started
was working, some geese that shared space with the monkeys
making
swim around
thrown
in the
pond.
jft
*<>*
65
enough
submerging
to retrieve an object,
in
as little oi their
body
as
dog-paddle around.
my
when one
surprise
ol
dove into the water from the rock, right into the midst of the noisy
geese.
sent
them
as
pulled
ii
geese,
in like a
of!
Us
wet monkey,
jumped out
fur,
at all to
to,
But
events
and
help, so
how
visited
at
other
studied
any artwork,
had to search
fur-
artists
museums.
What
me
no problems to be solved.
left
it
Perhaps studying
would
to put
possibly because
ther.
geese
did.
this incident,
I
The
to be respond-
stop
who seemed
the monkey,
the
ot
Rousseau's lion
lenri
it
is.
in
So
more capable
loved the lions and other animals featured in the great art
day,
wanted
needed. So
to create,
still
turned inward, to
like to
be?
my
saw that
had not
imagination.
bird to
fly?
drew
doves. Again,
book
in
Then, unexpectedly,
There was
I
It
was not
some
it
owls.
pastel.
My
watercolor palette
color.
that's
work of art
as
immediately did
Then
and black
anymore,
as great a
hooked on
reproduction of
a small
reached for
my
insignificant
Rousseau's
drawing
66
but
seemed
I
at first.
was soon
in black charcoal
with
brown
paintings. Next,
my
in feeling
lion,
it
human
studio.
how
my
in shape.
tried
My
mixed media-
67
68
went
progress,
owls.
how
read whatever
to raise them.
Then
the relationship
Then
could get
my
how he was
cap-
tured to be used as a decoy for other birds during the day. Although at
night other birds especially smaller onesfear owls, during the day
they
an owl that
is
owl
if
trained to
then be
69
in
ambush
for
about freedom the owl's freedom. As the plot evolved, the owl was
unpredictably set free and returned to his cave and former
much
wild, with
life in
the
despite his troubles, he flew silently and long, and was tree. Perhaps
there was
Before
out
my
some
I
of that
knew
it,
owl
in
me.
had hundreds
70
of images.
It
wasn't
work
of a print of
a living
built
an owl that
it
can no
wasn't
it
upon
ble
so
still
where
jumped
many
it
now-forgotten book.
in a
was
painting owls
a friend
at
when
had
chance to
visit
an urban
a stable before,
be
sta-
carrots
and apples,
fif-
felt
left,
got
might
allergic to horses.
When
allergic to horses,
and used to
itself,
was
was not
hard,
The
was
allergic to
removed the
all
my
mold
feet
up
now were
visually as
my
stu-
soon
as
removed
less attractive
more
industrial carpet in
emotionally more
felt
studio opened
my
While
still
like a
No,
tested.
was
it
looked
clean,
and
my
It
"saw" horses
all
my
mind.
Still
71
monkeys
series of
I
And
a real
at
it
my
art.
Well,
however
want
in
where.
drew them
to be a
horseafter
mythological one.
in
just
admi-
liked the
now
horses, did.
all,
they couldn't
real
enough.
fly.
had to be
mLsy"
72
needed, not
didn't
knew
them
I
in books. Finally,
in
my
memory,
studio from
all
the time,
found that
wanted
cooking.
would
brought
jars
discard once
my
yolks
shape. However,
worked
found the
its
right
studio-
in
loosely applied
held
my
of egg yolks to
the blend to
what
it
was
way through
greasier,
number
propor-
in
my
oil
it
from the
paper. But
soon
My horse
made
with
his
a large,
a partial
densely painted
sideview of a horse
produced
an opacity that contrasted with the light and thinly painted tints of the
underlying white paper in other areas. That horse pleased me.
When
horses.
My
recovered physically,
Now
had to wait
until
my
knew
found
my
that
next preoccupation.
now saw
I
Would
myself in
many
it
it.
My
come
search
to
animals.
me
My
search reopened.
73
Appro
observing
observer.
your
74
art.
it
at
In effect,
[ere are
some approaches
to try.
inter-
are in a situation
we
we
in several
and
detached
ways through
have
a pet? If not,
KNOW
maybe you
my
your preoccupation,
your interest
if it is a
it,
as
strong one,
it
did about
Whatever
75
AN
.1
\ IMA
YOV
I.
'/)
I.IK
like to
some
less
size,
its
qualities
AN
.1
ol
may
be, the
Owls
NIMA
like to be.
I.
SI
Ml
important
it,
and
vour
art.
it
opposed
may come
Whatever
a
^ood
the order
it
to tin-
in
no sense
in spite ol their
76
Mi TO YOV
link to
art.
tion,
generating your
All ani-
easily,
two
will
they choke
chance
in
be? Perhaps
desirable ones.
TO BE
are
(is it
ol things,
is,
by defini-
GROUP OF ANIMALS
to see yourself in
many
who embrace
animals, or even in
that view.
Western
all
animals.
scientific
not
be
in a painting.The pictures
SUMMARY:
I
SEE
need
focused subject.
human
monkey. Can
to animal?
me
to develop a
whether
it is
Your work
noble or
will tell
it,
paint
it.
77
Observing and
Being Observed
The Other Person
It
think
me.
II
life,
think
large atelier
for a master's
a day, live
78
in
still, it
painting,
days
we
all
worked
it
in a
Two mod-
degree
is
put,
So another poison
While studying
els
people.
outside of themselves,
in
the model,
But
stayed in one
warm
place a
spot in the
could take
break whenever
needed
chose to paint
was
To me,
set up.
human body
the
ing in
my
all
my
is
fascinat-
poses. Then,
from
room,
side
answers to questions on
composition, and for solutions to drawing views of
in
one
model
always returned to
com-
and that
fortable position,
few
comfortable positions. So
model had
in like a cat
nap.
settled
about to take
established, the
from
it
occasionally.
son's personality
in
as
my
view.
model.
If
likeness,
even
were
when
comes from
when
is
just as distinctive
accurately perceived.
inside myself in relation to the
Those comfortable
in
my
painting,
didn't
79
surround. To
foot, or
move
even an
in likeness.
in closer,
As long
they worked,
as
Working
in a
remnant rug
when he wrote
is
table,
and
work
poses,
to pose for
in literature,
really
I
was
couple
in
me who
my
it
and
my
Gombrich was
lans
model posed
My
paintings.
to
some
right
limita-
of
there,
all.
Although
painted what
was "the
was
colleague-
greatest."
could not
could
see,
easily.
mainly
questions
recommended
The model,
graduate
up her favored
real stances,
exaggerated in
room, on
became accustomed
she assumed
them
80
Living
of chairs, that's
wove me
of
one glance,
way
affect others.
they were
found
in
limited space.
She
it
painted
inhibiting.
student
until
in a
someone
weak
my
had
drawing
problem. But
in
if
that art
hand,
me
no art then
when
Later,
problem
confinement. And,
studio,
tions there
was not
my own
spills,
it
rest.
me was
interesting to me.
it
the head,
a detail:
ear.
making
focused on
like
"poses"
so naturally,
mood and
suggested
became
attitude,
which
/
4t
81
For an entire year, while she read or just thought about her reading,
I
painted.
Her
from day to
In
I
When
to,
in
my
little.
made hundreds
them
she looked
if
way.
One
my
set to film
intelligent,
at
my
observant other,
my
facial
paintings in process
thought-provoking
scientist
for weeks,
at
82
creative
commented on
from
wore
in a positive
story
I
worked, and
my
of fresh images.
not only observed her she watched me, too. She observed
I
in
ot
expressions as
were comfortable
parallel.
who had
gear.
resting,
lours
studied wolves
Ins
later,
cameras were
confused and
Then he saw
all
dis-
the wolves
in
erately
Working with
at
the
progress, too.
also see
was
to
student experi-
earlier
what
a canvas
when
from green
at
any
saw
they changed
to a
sunny
yel-
also
in advance,
my
by
easier
atelier,
He was supposed
dare they!
them.
their
How
many museums
how
far
from the
other
from the
Some museumgoers
visitors.
original;
wanted
my
home and
paint, to
make
most onlookers
said nothing.
me
work
as
worked, that
jarring.
my
could
could be
of
to go
on recognizable form on
glanced at
traffic
in
in pencil
and charcoal
why draw
I
occasionally,
but
find
me
learn to look
in black ink.
I
am tempted
do
to
allow myself to "settle" for an edge in those readily erasable media. Ink
love about
it.
glared at me.
It
When
first
is
part of
it
gave
me
what
error
an anchor on which to
83
hang the next more- accurateline or form on that same surface. Ink
me
helped
learn
drawing
as a search,
Working
lust
get
it
line
the mark
feedback. With
in its
hut
right,
is,
it's
racy of the
One
And
decision
working with
to see
than
is,
mistake- that
and whether
a readily
irreparable,
is
it is
right or
knowing
wrong is
it is
of that
drawing or watercolor.
model.
came
also possible to
drawings.
to draw.
watercolorrisking
in
where the
generous
me
my
In a group,
not speak to the model, except perhaps during the break and probably
not even then. That avoids the din of everyone talking at once. But
as
they
flexibility.
Some
artists talk
them-
the model
is
more
when
talking,
But when
When
We
it.
came
of intense concentration on
she was tired reading, she might talk about what she'd just read,
and react to
times.
me
with
my work
at that
my
It
some-
moment
images.
it
solidified a
working relationship
when we do
meet,
we
pick
up where we
left
all
painted that.
For
us, getting to
know
fell
relaxed
felt
my model
enough
to
make images of
it
What
seek in
is
no
art.
my work
is
that sincerity
Children's
sincerity in the
is
work
issue
we
Whether
will
is
moving and
what they
children's
us,
work
it
interesting,
are painting
even
is
when
"art" or
it,
because they
not
is
philosophical
does communicate.
my
watercolor paintings,
unless
might make
is
kept up,
life
drawing
it
it
fades.
my hand
[ere are
work
some ways
that
you
development
as a
watercolorist
If
human models
(even
in
a life
Jass or worked
small towns
learned
in a
group, lor
it
I've
in a
group with
of you.
Whether you
is
much
across the
room)
love
how
it
or
to he
others
they develop
composition and
Some
human
is
essential for
clothed models to be just as informative for figure studies. For me, the
important thing
clothed or not.
86
is
to
live
human
form, whether
MODEL
FIND A
Ask
a friend to
still fits.
which she
dress,
Whether
when people
it,
some models
scrutinized,
found
a friend or a
it's
doing
just
in the closet
hired professional
some models
make
a living
are obviously
and
in
you have the opportunity to decide on the pose and determine what
the model rests on, which chair, which stool, which color cloth
if
in a group,
but
you'll find
your kindred
if
at allyou
spirits for
is
will please
everyone
like
like,
next time.
my work
with
human
carry back
beings, or
come
consciously create
it.
communicate
Some images
it all.
art.
artist's level
Transcendent moments
still
artist
communicating
feeling.
it
in
in
work
And when
that
jumps out
skills,
training,
as sin-
moments
on the support
cere, as
their thoughts
us, to
produce great
have always
Another
what
it is
of tran-
about
letting
the Details
It's in
Childhood Memory
Reflecting on childhood
wealth
imagery
of
for an artist.
When
was
and
central heating
a
my neighborhood was
a child,
a full
bathroom.
summers were
City
remember
up
right
metal
friend
my
down
On
Jose
to the
out
when
ular,
in partic-
the temperature
my
stuck
dow. At
feet
only catch
my
bare
inside,
convinced that
if
feet,
was
could
breeze on
a little
then
might
A sensitive
feel
the slightest
of air over
ing
child,
it
my
could
movement
body, savor-
and getting
a full,
from
it.
Each puff of
it
air
would
window
of.
it.
as possi-
afternoon
One
we had
her kitchen.
then draping
ble,
in
My
them
A,
'.
'J
Two weeks
Would
it
Would we
in a chilly
friend's
a
home where
ice
air
all
be cooked?
conditioners, but
"air cooled."
refrigerator
as
imagined
a refrigerator at
was delivered
sitting in
home unlike my
our
box"
(literally
drip pan beneath, and the other for foods to be kept chilled).
good on
my
As
it
tap.
got
For
warm and
else.
book
alternately rested
like a
wooden
dowsill,
chair,
and
Sitting this
got
for
sought
my
on
corner of the
feet either
way took
all
chair, or
comfortable place
my
on or
dampened
the cloth
felt
thing
moment
tried to read.
on
my
The
lap, feeling
window
guard.
like hours.
89
Then
ish.
Could
several seconds.
Then another
Then another
drop.
shin.
Was
The sky
my
just
ended.
away by water
breezelasting
it
more
for
felt a
yellow;
it
was
falling
The
rain.
from
yellow-gray sky.
90
a real
toes.
One win
one had
was
its
in
the
jumped
rain.
off
91
When
painting
childhood memory,
chose the experi-
ence
o\ that
panicky
and uncomfortable
chose
six-year-old.
to paint the
growing
ing sky,
from being
relief
hot
painfully
What
fickle.
happened
that day?
low muc h
tion of
my
memory?
way
to
fully.
rely
actually
is
elabora-
skeletal
There's no
answer that
Mostly, though,
on
feelings.
emo-
tional feelings
but
memory
my
of physical
sensations of heat,
my
pressure on
back, on
experience of
of the
title
my
window
tender,
my
lower
legs the
of the book
tried to read,
what
wore, what
we
The
taste of a
madeleine cookie
both
as repositories
my
I,
set off
too, have
come
of memories of
my
been
a rich
photograph printed on
grays shows
tiny
92
me
my
bodily sensa-
paintings.
to trust
is
in
thick, grainy
standing next to
my
paper
in varied
father.
finger of
am
my
shades of pearly
holding something
right hand.
believe
mm
<r~
^
93
had found
a pebble,
But
was
my
and held
I
It
was my pebble.
not even
my
Which
part of
is,
my
it
my mouth and
in
home
of
my
it;
interpretation
memory
see
if
or logic?
father
swallow
putting
in
it
me and would
with
was probit
acciden-
my mouth.
reside in
my
turtle
had found
My
fingers.
my
It
he remembered
is
it
structed from
himthat
if
was going
between my
would put
don't look as
treasure.
it
of reasons.
in
recon-
is
could ask
was
to
We
rate.
it
me.
memories
believe
are accu-
even
intelligent,
adults
deal.
well-meaning
remember can
But from
vary
a great
psychological
even
do with
"reality"
The more we
or to others in images or in
the
more our
form.
94
to
We
words
stories solidify in
with what
actually happened. In
its
we
place
simplified or cleaned-up.
These become the preferred versions of events rather than those composed of complex, messy, or unpalatable
Why
say so
much about
facts.
life
and
the
place in our
takes,
life,
determine what we
feel,
Why
details.
Things
them and
their
it.
What
does knowing
one person or one subject area more deeply than another mean? The
answer jumps out
important
at us:
We know that
details.
no
work
know
that
insignificant detail;
it is
you
will
no other color
essential to the
if
will do.
to
That
is
However, when you are searching forbut uncertain about that next
step,
artist,
new way
memorable
we
have
a better
memory.
If
we
chance of creating
pictures.
95
Approach
Images activated by childhood memories can be brought into locus
many
ways.
in
two approaches.
[ere are
many times
with
you
as
feel
time, and
it
your paintings
work at
finish
look
the
at
scries.
them
the
first
memory
and
last ol
first
it
at
your
to the
your pictures
How
in this series.
Or how
has painting
memory
has your
series?
of
second
it
paint
moment,
n stimulates your
as long as
last
it.
it
Then
the photograph.
order ol the
you
as
as
recall the*
When
at
a third.
imagination.
you can
from looking
that have
in
you
in the
original
in another.
painted them, are there any trends in the way the images develop?
SELECT A
If
you
are
you might
Paint
it
MEMORY
still
like to
that
photograph.
much
If
you
about your
memory
as a series again.
Regardless of whether
if it
memory
you
for
select pleasant
to deal
withyou can
if
you choose
to see
it
through, you
may
find that the past event, however dark or difficult, has a positive side.
96
is
may no
this chapter,
what frightened
wouldn't threaten
allow
as
me
as
so
in
my
much
being true
case,
as a
recounted
earlier in
to turn
an adult,
me
me
As
as
on
also
because
want only
there
is
no one
to be in the
moment
entirely.
my
Any
ability to
change makes
me
The
glad to get
up
in the
get
morning
up
from
to learn
97
Who Am
Self-Portrait
In
child.
But
who am
Can
today?
Throughout
mood,
his
is
come
life,
oil
as a care-
far
and
of
get.
Rembrandt, span
his life.They
what
in
when he
said that,
still
still
had
to grow.
in
(if
he was
grateful.
own image
to paint their
snapshots?
Like Bacon,
at
I
Bacon
the time?
Or
model, but
given point in
know
Painting
going.
my
life.
the person
my own
Some
is
when
continue
no other
is
no one
become
my
search for
is
moment.
who am
I
at a
since painting
a subject,
don't. Instead,
to
my
artists
artists
dynamic
To move on
I've
do
Why
simply, as
Is it
model around
to
that
felt
but Cezanne knew that Pissarro had something to teach him, and
to the end,
haw
he was
from
Cezanne*
Cezanne
his life
"down," hut
of his
his stage of
Cezanne's
Rembrandt
as a
le
who was
have
last self-portrait.
I
am and where am
cheaper to
paint the self than to pay a model. But emotionally, painting the self
not cheap
98
at
all.
is
99
When
sertation
their
was
on duplication
own and
oi facial expressions,
could
it
move on
to
my
photos put
issue:
It
found
it
make
do
oi
as facial expressions.
facial
Some people
own
facial
as a base-
at a
faces to
it
the communication
expressions.
in
thought
my experiment
in
primary
doctoral dis-
shown
my
woman
did,
it.
own
facial expressions.
be
true. After
all,
what
is
more
were already
made them
anxious.
feel
Maybe
it.
As
a result,
the forerunner to
Duplicating their
own
that's
facial
own
my
expres-
study
expressions
made
100
my
own
self-portraits
is
not
The model
is
painter,
is
model
way
there a
Is
to
What about
when some
tosthey create
camera
artists
stilted
as their source.
mean pho-
as
having the
is,
is
"real."
Then,
its
separate existence.
to self-portraiture
still
is
number
the limited
a mirror,
at
or even in
the viewer,
moving
target
may end up
much
doesn't look
like
likeness,
am
the
is
artist or
feel
is
essential.
a portrait that
artist
including touch.
familiar stances. If
The other
we
artist
own
fool ourselves
is
may
it
where
sens-
artist's
ter
who we
are,
what we have
experienced, and
view
ourself.
And
avoid
it.
force
some
the
reflects
self-portrait
self,
We
if
how we
cannot
we
try to
artificial
view of
or of society's ideal
and makes
it
it
weakens
it
less interesting.
101
Approaches
If
in
look
like.
who you
are,
your willing
it.
Or you may
youVe
Here
are
some ways
to find
ol
said in
being
out
NO MIRRORS
Without looking
in a mirror,
fse
aiw colors
work spontaneously.
it.
MONOCHROME 77 C
in
like.
without examining
Work
them
or combination of
what you
paint
one color
ROR
AIT
burnt sienna, or any one single color that appeals to you. This time
while looking in
102
mirror paint
a full-face self-portrait.
color.
your
at
mirror image.
THREE-QUARTER VIEW
Now that you've
full-face image,
to
is,
of the other showing, and your nose in partial profile. Choose whichever side you prefer.
Some
on
just
how
different the
two
a face
its
side of their
might
profile or three-
sides of a face
one
left sides.
experiment.
You
will
probably find
that neither the paired rights nor the paired lefts will be easily recog-
more
like
you
as
you see
what you've
yourself,
which
ones capture the way you seem to others, and which ones are about the
way you
are inside.
How we
have
come
to see ourselves
project ourselves to others can change over time, but not readily.
how we
to
facial features.
perhaps then
we
can
lie
make
sense out of
bulbous nose.
It is
Once we
in perfect
Rembrandt was
us,
life
rarely has
realize that
reproduction of phys-
how
a painting
of
can be
about
And
life,
beautiful.
103
Art Beautiful?
Is
This
is
fi
me
me
e r
to write.
Maybe because
flowers are
Not because
human
challenged by
nature
of
it.
had always
human
each blossom
beings. But
it
me
has taken
is
others, even
all
on
My
Even
is
wilted one,
crushed one,
back to
my
a partially
love about
understanding
beautiful to me.
themtheir beautyis
of
them and
show flowers
in
the
to painting
another way
And
in
them.
low dare
watereolors, equally
beautiful but never more beautiful than they are to start with 1
Flowers have
I
feel better.
Whenever
N*.
104
If
feel
low or frightened,
They may be
tiny
in a flower shop,
A Gauguin
painting of a
source of strength to
woman
holding
I've
me
a tiny
and so
holding
is
flower was
a great
Rembrandt's painting of
found them
woman
for years,
I've
if
you
me
feel alive.
105
or have
come
kind of feelings
a
them with
to associate
I
funerals. For
a sunset,
While
it's
in harsh climates.
On
it
isn't
unusual, especially
lunched
sills all
at a
wonder-
along the
completely windowed room. Long and dark winters there won't per-
mit growing flowers outdoors, but indoors, diners year round see
ing plants
species,
all
tenderly nursed by a
bud
here, mist
The
some stems
106
windows were
full-
staff kindly
watched that
thriv-
alive
but neglected
it
in
think of
it
took place
middle of May,
it
a wet,
heavy snow
with
all
It
fell
I
more than
for
saw
a lilac
bush
the blossoms
fell
day there.
in full
lilacs
When
bloom, laden
had survived
How
tiful
do flowers
know
What
is
my justification
for
mak-
3-rt<r> )'J
:
5<CrWG'*AJ
;ci
)o
107
But once
understood that
front of me,
art
is
subject in
paintings of
ink
plum blossoms,
on white paper.
Clearly,
for
it
is
in
black
me
to
amount
of black ink.
also brave.
ot red
It's
that
plum blossoms
They bloom
of
in
cold weather
when other
the characteristics
we
and
Or
all
three,
108
Or
"simple*?
flowering plants
them
What
if
we saw people
as the
Or
"pure"?
to flowers
tell
us
109
you were
It
human
being,
which flower
first
comes
Or
it?
is
there a
as being,
When
and
be?
like to
playfully applied
was
sur-
not what
lush and
doesn't
am
carnation.
would
like to be.
full.
Showy and
last long.
bloom
those qualities, to be
But
am
tions as
might prefer to be
not.
No,
last
some
cloves.
am
bloom, even
varieties can
know
a carnation.
have
in
come
own
cut,
is
it
If
to appreciate carna-
Carnations are
in myself.
an apartment with
of no one
a carnation isn't
beauty
like that'
flower,
its
Its
little light.
They
small,
that
will
peony.
bud
would
fills a
felt
like
one that
who
as a
cooking
am
spice,
are
told
used
like
like
in
way.
Then
would be hard
muma
large,
to
come up with
men
one. But
in
it
cut,
and
a regal
one. In Japan,
it is
after year.
be.
We
our culture, so
wasn't.
lasts
It is
and
He
is
lasts,
don't
thought
it
a chrysanthe-
even after
it's
symbolic of an order,
like a
knighthood,
At
this point
you might
ask: If flowers
Why
paint flowers at
all?
a self-portrait,
instead of painting
Flowers
last a
you, the
artist,
those flowers.
Knowing
that
reassures
there
when beholding
and then
when
paint for the search, the personal quest after self-understanding. But
painting also bridges the gap between myself and others, between artist
and community.
Ill
Approach
Painting from nature refreshes me. See
you
if it
when
FRESH-Cl
O WERS
/'/
If
fresh-cut
you respond
become
a life-
long source of creative expression ior you. Cut flowers are often just one
element
a glass,
in a painting,
in
FLOWERING
Some people
be
shown
If
feelings, or if
it is
wrong
them ends
feel that
green plant or
composition.
you
or
believe that
left in their
maturely.
PL A X
in a still-life
a vase
flowering plant.
in
their
life
pre-
Still alive
entity.
on the limbs of
is
trees that
seem
window from
the
warmth and
safety of a
we
or a storm, the
warmth
watercolors feel so
or the cold.
alive,
We feel
Is
that
we
They
home
look at them,
why such
classic Oriental
FLOWERS AS METAPHOR
Paint the flower
on
are inside.
deeper unconscious
might you be
112
you
or
level,
saw myself
what
if
am
as a carnation.
But
inside,
\.
113
not
see, yet
you can do
this playfully,
while
at
of
nitely to
you
right
many
parent?
others,
friend 1
would
that
lover?
If
tremendous
Mr
4
v*
114
to
this
approach
you might
life? If
What about
your
list
be.
indefi-
IMAGINARY FLOWERS
imaginary flowers. Odilon Redon created believ-
you may
discover, as
many
real
ones harder
to
from
more
vases.
But
difficult to paint
make them
believable.
year,
whatever
else
my watercolors more
paint,
frequently, but
They come
to
life
to paint them.
I
did not
know how
to draw.
We
who
said
he drew because he
an
ideal,
is
how
always
but never
knew
He was
that he
always
more
to learn
The
and further to
closer
we
get,
go.
We
approach
it is
my
passion,
and watercolor
is
the
medium
of
my
ideal.
I
love
passion.
7/5
Making Contact
A Holy Place
I
place,
and
we
art that
we
if
can
communicates
directly
we cannot
inner holy
sincere
mean
to another.
communication between
holy
is
we develop ways
of
levels ol conscious-
mind.
levels of the
new
ourselves
in
increasingly within
by painting
may make
artists, their
Michelangelo
of
vision through to
its
monumental
Chapel
in his Sistine
in his
tiny
as artists.
believer,
mous
work
ways,
in different
We
see
ceiling.
and determination
to seeing his
come from
enormous Buddha
Dome
of the Rock, the Cordoba Mosque, the Western Wall, and Stonehenge.
At
this point
we might
ask:
What makes
artists
human and
living
to others
me have
a lifetime
communi-
think artists-
with other
living things. If
our intuition
is
wrong,
then our work will probably not communicate with many others. But
when
it is
right
skills are
is intuitive.
Scientists
systematically set out to prove hypotheses about the world, and they
communicate
to those
who
116
methods and
V:
'
,,
117
r*V>3
^2^^
Artists,
^V
W B^ ^fl
core of us.
We
we
have changed;
we have had
successful image
is
new and
move
on
target.
Seeing
results.
own agenda
it
was
all
sources of per-
in the
hands
and yet be
Artwork
of artists
it,
we
different experience.
to
^^^
ft
we
making
imagean image
believable, persuasive
V^ftjfc
ft
or demonstrate, simply by
^k
H:z
They and
socially devastating.
On
their
furthers the political, economic, or social goals that a society has set
are often held in
The
Working with
manual
see
laborers.
beyond
dirty
To find the
118
artist's
from which
must
art emerges.
them
119
From the
artist's
it
make sense
to go
ahead
ol
under-
much
we
bones;
of art
to learn
others;
simply
is
The
physical
we
can
become
impres-
few people of
work
extraordinarily
be hard to accept.
We
can only
does not
many dreams
to be artists.
disillusioned by
Some with
120
it
our
work
helps
Theoretically,
tary
clearly.
in
dampen too
of those striving
what we
learn as
we
Seeking
my
me
for
The
search has
made
life
me
Here
opened doors
my
are
some ways
now. Perhaps
it is
PILGRIMAGE
you find
to paint
you
get
on location
holy. If
it is
work with
there,
that subject
What
pews? Take
does
in as
it
feel like to
much
How
it's
as
you
at
does
it
look?
How
does
it
sound?
And
can,
is
contemporary
the same.
121
SACRED TEX
If
OR OB JECT
book, that
mands
is
response in you.
Monks were
oi
events described
in a
holy
com-
all
artists find a
belief
source
may
beliefs, find
ARC
Concentrate on
task in
paper.
create beautiful
work from
and
of
the*
itself.
You may
word or
objects.
II
When
identify
122
mate-
NN
in religious
images
of
it
To do
this
is
creative
God,
as
tiniest grasp
design abstract lv or
low, or by
figuratively.
SUMMARY
What do you know
with
it
in
touch
help you find your subject, your medium, find out whether you
wish to paint
at all? Will
Can being
We
each discover
it
differently. If
among
we
we would under-
us.
123
Putting
All
It
Together
Landscape
Landscape painting
winds coming
at
is
he'll finish in
one
Or
day.
it
slathering paint
Georgia O'Keetle,
is
only the ear roof between her and the scorching southwest desert sun.
Or Claude Monet,
in his
light,
Landscape painting
these for me.
of these,
is all
and
at
of
oil
paint and canvas. The wind, sun, glare and the darkness as sun sets on
my
quickly
in
wind and
would
my
intimately linked to
how
patience.
must
stay in
wait.
pool of paint
am
after
they just
them?
do,
sat still in
am
They, not
a guest.
them.
and when
learned that,
reach.
sit in
from
me
home.
remove the
to fear bees
and their
stings,
my
To observe them,
by
come
far,
to
my jar of fresh
my side. Before
rinse water
from
their
again.
palette.
That sent them scurrying away, but they would come back
124
I,
water supplies, so
to go
see bird-watchers or
my
want
dew
currents shift
air
painting. Evening
tired;
dries.
was;
am
Water evaporates
pushed by
oils.
one never
has.
am
con-
However,
Sometimes
walking around
to accept
me
as
feel as if
my
still.
in a fantasy land
Nothing
am
were not
as a predator.
there.
in nature stays
still
They
But when
very long.
When
just go
paint a
125
work
Wind
at a
is
always happening.
much
for
much
for
shading.
A bee
point of
my
is
busy
under
at
watercolor painting.
Its
I've
made
presence distracts
the focal
me from
paint-
Not only
field of distractions.
way
into
my
me
A person,
paintings.
It
turns
lose
an
my focus;
a city
insect, a bird,
my
whatever
is
mine-
126
landscape
size,
persistence,
and
my
attention.
life
rigid,
exist
wind, but also slowly and insistently toward the light or away from
it,
toward each other or away from each other. Each develops an individual
can recognize only
form.
ter at
it.
Imagine naming
few
trees,
trees as individuals,
Often
ings
back
at
my
studio. I've
found that
if
would
It's
as if that picture
lack the
power of
my
is
finished, so
first
reaction
complete
painting.
my
watercolor on
why do
on
site?
So
if
have
sketch
127
in pencil, ink,
wash, or even
At some
One
is
point,
watercolornot
my
Sometimes
studio.
two kinds
established
of
outdoor working
I'll
create
later.
idea.
sessions.
On
other
work there
finished
outings,
I've
in
it
for
framing back
at
the studio.
It
one created
varied.
in
my
conditions. Hut
I
had come
when
work was
oil,
it
had
strong as
as
it
come
even
level oi struc-
to
six- as
the
Some
artists
As he arranged
ulate landscape
and
forests,
forms for
bushes and
He had
a painting,
trees.
he saw
As viewers of
128
Gainsborough saw
we do
nature
his
work,
we can
in ours.
it
as
he painted
it.
He
readily
scene actu-
did, in his
129
Even without
up
broccoli,
and
displays.
me
The
is
lost in
it.
until
only
few minutes,
ence
in
was
my way
find
being scared
lost in
out.
the
Booth
But for
I
evening,
make
garden
One
vendors beckoned
730
Tivoli gardens in
me
it's
ol
it
was
is
it
wasn't; the
no way
how might
ol really getting
miniature house-
whole
ol
horrors for
realized that
it
tor a painting?
I,
Once,
was asked to
place.
as part
of a conference
visualize an
image of
was uncomfortable
a landscape, a safe
sitting there
let
would
be.
opened
my
might be able to
consciousness at
in a
room
go enough to conjure up
it
Once
and beautiful
ing a scene.
and
are peaceful
my
felt
my
revisit that
a scene,
eyes a few
calm imagin-
imagination and
scenebring
will.
131
formed were
we compared
vastly different
country
woods
settings.
landscapes.
crowded
What
"safe" places
Our
city,
others
in
of
the seashore,
suburbs, oth-
images
we
can
make
that are
132
unconnected to our
who we
are as
of us
skill
ot
or training?
Do
Appro
One
is
that
focus on the
mood
color,
on
difficult days.
art
them
restful
Do you
works of
as
composition, line?
PAINTING ON LOCATION
Go
be
will
is
essential.
For others,
it is
a treeless plain or
it
infinite possibilities
as
much
as possible.
me
concentrate on
As
safe,
woman
like to
working.
my work
you
prefer,
I
need to help
Then
take sun-
my
am
con-
template whether to use this shade of yellow on the sky or that slightly
redder one.
artists feel
733
IMAGINARY VISTAS
Imagine
where you
I
imagined
sky
scene,
park then.
summer
don't know.
Once you
later,
in that
did
saw
saw the
there
memory
was
time
first
when walking
life, it is
lust as
place
in a
was'
it
having
of
my
lite,
in that state
when
trees.
town. Perhaps
ble that
I
The
my companion, and
start using
and
had no conscious
eye.
your mind's
me hut
pleasing to you,
rolling hills
my
to in
state park,
I
feel safe
is
in real lite
what
always possi-
tor in the
process-
in
my
imagination.
SUMMAR
LIFELONG SEARi
working
in
my
life,
my
I
has
in
my
become
approach
is
my
focus
paint from
life,
or
Instead
draw from
life
easier to let go
have
come
but
do enter
it.
is
a level
is
different period
of organization of
my mind
134
in painting.
life.
outside of consciousness.
tion,
have changed
from imagination,
solely
part of painting.
II
135
,f?V*j"5-
Walking
on Freshly
Fallen
Snow
137
You've Found
Your Path
What Now?
At
someone pointed
recent show,
because
like
about?*
is it
my
on the wall
self-portrait
down
explained about
my
to
my
hungered
ol
my
the paper
paints
oil
medium
for a fluid
watercolor.
As
spoke,
she didn't
knew
me
tell
had
my
could see
lost her.
believed
in
my
what
was
saying, but
how could
work, but
claim her
By the time
whole
it,
home,
got
been aware
on
even
of the rest.
when
know what
is
it,
what
am
people asked,
painting.
"Is it a
what do
was
when
say
do not
say
if
the revelation
know
it
yet:
is
It is
did not
product of
a picture of
my
The
self-
subconscious as
myself as artist-wolf.
It is
Some
both. But
first
it, I
later,
was
my
ideas effectively,
and
was frightened to
afraid to talk
tell
that
woman
would seem
how
138
yet
And what do
"Who Am,"
What would
had not
it.
ried she
my
paint from
as
out!
Because
it
Here
had figured
consciously
sciously
silly
about it wor-
and not
discovered that
it
nice.
was the
piece;
was
it
all
bubble-wrapped
and
noticed that
looks like
it
to myself,
said,
wolf.
What
it
mind
the
"That looks
looked
happened
It
will do.
like
the
show saw
What
that
it,
just
who saw
had had
it
it.
The double
photo of
wolf up
in
my
unconsciously appeared in
my
put
it
up. All
wrapped
my husband
too.
moment when
was that
down,
thought, upside-down
to be upside
was not
like a wolf." It
my home,
at
know
is
know where
that a wolf
work.
139
Was
it
just
an accident?
photo which
Who
I
knows.
What
kinds of
my
things in
led
me
studio.
to chose
then leave
it
although
had
and
up,
dis-
posed of others
in
me company
studio.
like
in
my
having
140
in
the
a birch tree. In
same photo.
flowers,
One was
trees.
instance could be an
two
One
looking at
one of so many
photos of
available
My
wolf
wonderful
not
is
a scary
What
it is
my work? Maybe
subconscious?
It is
me. This
is
the
is
think
is
artist as wolf.
they put
woods and
his
The
A well-fed
him
home with
wolf and
tells
that
if
hungry.
Once they
he comes
a collar
is
tempted and
so.
scary
is
him, people will feed him and look after him. The wolf
He
picked
a half-starved
goes along.
werewolf.
at
my
influence
it is.
says the
"Oh,
it's
just
my
freedom.
The
The
I
artist-wolf
is
am
tionally.
But
am
artist
means being
alone, literally or
in telling others
emo-
to stand
about
Is it
it.
up
for
had
at that
moment
scares you,
in the gallery.
hope
By not
141
end or even
the beginning
at
am
sad that
my
cycle. Will
Onee
lege,
him,
love
it."
le
had been
die.
do
relationship.
you are
great teacher.
still
It
love
still
lis
It
my
like to
color
know where am
going.
some might
medium.
painting.
But
In the past,
my
say
my
But
would wait
at
until
said. "Yes,
am
is
still
teaching,
like
any other
Then, there
I
interest,
nothing to
is
paint now.
have
still
moment,
I
told
come
my
its lead.
subcon-
whim.
my work
as
always being in
con-
resting at the
me
deep
For example,
playing.
end of the
in
my
come
am
There
is
But
day.
subconscious, there
forward.
142
from
find another
soul, just as
sciously plan
den from
when
ol
same time.
consciously
may never
Then main
over.
scious,
it is
relationship to poetry
But
it.
or just
asked what
le
in
is
it
is
never could
it
former professor.
pure joy
is
the
at
believed that
met
cycle
ol a
hut
cycle,
is
it
me,
for
ol
of one.
development
body
is
new
completely hid-
it
along,
but
experiences.
no
and
have no clue as to
where
me
might take
it
my
in
alone in
art, let
me and my
a
new
art to
that
places. Relatives
I
my
what
say,
do
no
frontier.
When
will
do
the horizon
mit myself to
My
it
anyway.
new
all
is
We
recognize that
right;
me when
he
to give
when
a process.
is
my
life
life.
choose this
But
do
not.
He
own
want from
I
had
values the
life
lead
He
is
free to
Even
a total say
about
how
to live
my
instilled in
me,
this
search as an
life.
my
it is
how
learned
process at
per-
in
Whether
artist,
restless state if
been environmentally
I
have
and to enjoy some of the perks that have come from mine.
a fron-
next frontier.
build his
with
the formation of
up time from
feel stuck,
numbness
more con-
are genuinely
live
he did marry
can.
me
can only
it.
live it as a step in
husband
and helps
is
"That's
say,
somewhere. Besides,
emotionally numb,
permit
past,
new one on
now
But
concerned for
life.
still
my
aspects of
is
the
way
am.
my
am
as
an
artist.
143
Animals, 62-73
approaches
to,
D
Holy
"4-77
116-120
place,
approaches
also
Portrait,
121-123
to,
Imaginary flowers,
Imaginary
Imagination, 58
Black ink, 35
Ink, black,
Bruegel, Peter, 43
15
Proust, Marcel, 92
16,
Recipes, absence
18
Redon, Odilon,
12
71-72
lung, Carl,
Rembrandt,
Canary, 62
Kahlo, Frida, 77
Cezanne,
Known
Pan'.
Childhood memoi
approaches to, 96-97
dropping,
_:
animal,
47
Matisse,
lenri,
39
approaches
approaches
to,
40
138-141
Studying great
flowers
as,
food
50
as,
98-101
32-33
96-97
to,
112,
art,
37
14
Techniques, 24-29, 39
Michelangelo, 116
112-115
Self-portrait,
Single item,
Metaphor
Flower, 104-111
memory,
Similar animal, 76
66
Feelings, 16-17
inner, 122
h,
Shape',
Drybrush, 34
142-143
Sr.iu
96-97
Materials, 24-29,
territory,
66
lenri,
Selection, of
Charles, 43
new
lass
Drawing, 20
Exploring
133-135
lies to,
eftovers,
Life
I
Demuth,
12-15
15
approac
59-60
Rousseau,
Landscape, 124-132
86
of,
1
life,
48
Props. 87
3^
Intuition,
Pose-
Preconscious, 14-15
134
vistas,
Being animal, 76
Class,
98-103
Portrait food,
Illustrating texl
86-87,
to,
102-103
self-,
Art, great, 37
78~85
approaches
Horse, 71-73
subjects
specify
Mirrors, absence
of,
102
Texture, 36-37
Focus, 57
Model, finding
Food, 42-45
Monochromatic
Tree(s),
approaches
to,
46-51
87
Therapy, absence
portrait,
Moore, Henry, 44
start, 21
Fruit,
Two
Object, sacred, 122
49
57-61
103
Old photos, 96
Gainsborough, Thomas, 45,
One
brushstroke at a time,
30-32
46, 128
fruit,
to,
flowering, 112
Freud, Lucien, 98
Freud, Sigmund, 14
18
of,
52-56
approaches
102
Fresh
of,
approaches
141
16,
124
Vegetables, 49
86-87
Vermeer, Jan, 43
Owl, 66-71
Watercolor
142-143
approaches
Photos, old, 96
Goya, Francisco, 16
Pilgrimage, 121
Group, of animals, 77
Pissarro, Camille,
Grunewald, Mathias, 37
144
66
for,
98
to,
30-38
24-29
Wet-on- wet, 33
Wyeth, Andrew, 44
40 Academy
Brighton,
Hill
Road
MA 02135-3316
BAKER & TAYLOR
STEFAN DRAUGHON
as
holds degrees
from
in Painting
Psychology from
New York
University.
in
and developed,
the
New
at
New York
University,
Rhode
Island
which
at
the
Gallery in Manhattan's
bookwere
Broome
SoHo
at
Street
district.
PHOTOGRAPHY
BY
SARAH LEWIS
WATSON-GUPTILL PUBLICATIONS
521 95>
Printed
in
Hong Kong
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