![\"1.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/6_FrankWebb_Bideford_WCA_Watercolor-Paintings-1024x687.jpg\")
When Frank Webb works on location, he recasts the landscape, infusing what he sees with the qualities he thinks are important in a painting.<\/p>\n\n\n\n
\u201cIn general, I use intense colors, which are completely arbitrary, having no reference to the local color,\u201d notes Webb. \u201cBut, for me, the shapes are the most important element. Good shapes must be created. They can\u2019t be copied.\u201d<\/p>\n\n\n\n
\n\n\n\n
2. October Russet<\/em> by Tony Couch<\/h3>\n\n\n\n![\"2.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/2_TonyCouch_OctoberRusset_WCA_Watercolor-Paintings-1024x635.jpg\")
October Russet<\/em> by Tony Couch, watercolor on paper, 20 x 30<\/figcaption><\/figure>\n\n\n\nTo paint autumn foliage, like that seen in October Russet<\/em>, Tony Couch<\/a> sticks to a range of warm colors \u2014 from red to yellow\/green. To keep his colors bright, he places complementary colors near one another on the paper. But, Couch doesn\u2019t mix the complements, which would create a dull gray.<\/p>\n\n\n\n
\n\n\n\n3. Koi 98, No. 1<\/em> by Cheng-Kee Chee<\/h3>\n\n\n\n![\"3.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/4_ChengKheeChee_Koi98No1_WCA_Watercolor-Paintings-1024x725.jpg\")
Koi 98, No. 1<\/em> by Cheng-Khee Chee, watercolor on paper, 30 x 40<\/figcaption><\/figure>\n\n\n\nWatermedia paintings like Cheng-Khee Chee<\/a>\u2019s Koi 98, No. 1<\/em> come to life as an expressive, intuitive abstraction<\/a>. They\u2019re filled with the surprises and accidental happenings that characterize wet-into-wet painting.<\/p>\n\n\n\nColors blend and follow their own laws, and the paint is allowed to work for itself. Following that, the painting process moves into a more conscious and structured phase.<\/p>\n\n\n\n
\n\n\n\n4. Lily Sleeping<\/em> by Mary Whyte<\/h3>\n\n\n\n![\"4.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/10_MaryWhyte_LilySleeping_WCA_Watercolor-Paintings-825x1024.jpg\")
Lily Sleeping<\/em> by Mary Whyte, watercolor on paper, 26 x 21<\/figcaption><\/figure>\n\n\n\nFor the painting, Lily Sleeping<\/em>, Mary Whyte<\/a>\u2019s goal was to not only recreate the quality of light on her subject\u2019s face, but also the feeling of warmth and safety, and to capture the look and feel of a child\u2019s dream.<\/p>\n\n\n\n\u201cTo suggest the pattern of the quilt, I laid down washes, then dabbed in places with crinkled plastic wrap,\u201d explains Whyte. \u201cTo create an otherworldly, dreamlike effect, I dropped pieces of yarn into the background as well as pieces of paper towel I had cut into leaflike shapes.\u201d<\/p>\n\n\n\n
\n\n\n\n5. The Wash<\/em> by Milford Zornes<\/h3>\n\n\n\n![\"5.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/8_MilfordZornes_TheWash_WCA_Watercolor-Paintings-1024x748.jpg\")
The Wash<\/em> by Milford Zornes, watercolor on paper, 22 x 30<\/figcaption><\/figure>\n\n\n\nLine is the most important graphic element in a painting, followed by value then color, according to Milford Zornes<\/a> (1908-2008). When painting, he mentally traced the progress of a line in four ways: horizontal, vertical, angular and curved.<\/p>\n\n\n\n\u201cWhen I\u2019m painting a tree,\u201d said Zornes. \u201cI think to myself, \u2018OK, go vertical out of the ground for the first trunk. Stop. Curve into the branches. Stop. Thrust out at an angle for the smaller branches. Stop.\u2019\u201d<\/p>\n\n\n\n
\n\n\n\n6. Tenuousness<\/em> by Jos\u00e9 Apaza<\/h3>\n\n\n\n![\"6.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/23_JoseApaza_Tenuousness_WCA_Watercolor-Paintings-1024x758.jpg\")
Tenuousness<\/em> by Jos\u00e9 Apaza, watercolor on paper, 22 x 30<\/figcaption><\/figure>\n\n\n\nThe dim values in Peruvian-born, Mexican artist Jos\u00e9 Apaza\u2019s Tenuousness<\/em> reflect the meditative state of the figure. \u201cEvery human being is a summary of universal wisdom,\u201d he states. \u201cHumble people are my greatest teachers and have exerted a great influence on me.\u201d<\/p>\n\n\n\n
\n\n\n\n7. Camara de Lobos, Madeira, Portugal<\/em> by Eugen Chisnicean<\/h3>\n\n\n\n![\"7.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/19_Eugen-Chisnicean_CamaraDeLobosMadeiraPortugal_WCA_Watercolor-Paintings-1024x767.jpg\")
Camara de Lobos, Madeira, Portugal<\/em> by Eugen Chisnicean, watercolor on paper, 17 3\/4 x 25 1\/2<\/figcaption><\/figure>\n\n\n\nMoldovan artist Eugen Chisnicean<\/a> painted Camara de Lobos, Madeira, Portugal<\/em> on an island in the Atlantic Ocean called Madeira.<\/p>\n\n\n\n\u201cIt was such a different world, unlike any place I\u2019d ever been,\u201d recalls Chisnicean. \u201cThe scene had everything I needed to make a painting: mountains, houses, boats, people. I tried to combine all the elements in a natural way and to create harmony between the shapes.\u201d<\/p>\n\n\n\n
\n\n\n\n8. Tapestry<\/em> by Paul Jackson<\/h3>\n\n\n\n![\"8.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/15_PaulJackson_Tapestry_WCA_Watercolor-Paintings-1024x497.jpg\")
Tapestry<\/em> by Paul Jackson, watercolor on paper, 27 x 56<\/figcaption><\/figure>\n\n\n\nWhile standing on the observation deck of the Empire State Building, Paul Jackson<\/a> took reference photos for his large painting, Tapestry<\/em>.<\/p>\n\n\n\n\u201cThe photos were shot at dusk, but they allowed me to keep track of all the buildings,\u201d says Jackson. \u201cThis isn\u2019t photographic realism. Everything is in this painting \u2014 all of my feelings about, and memories of, New York City.\u201d<\/p>\n\n\n\n
\n\n\n\n9. Wind Song<\/em> by Joseph Raffael<\/h3>\n\n\n\n![\"9.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/12_JosephRaffael_WindSong_WCA_Watercolor-Paintings-705x1024.jpg\")
Wind Song<\/em> by Joseph Raffael, watercolor on paper, 66 x 45<\/figcaption><\/figure>\n\n\n\nThe subject of artist Joseph Raffael<\/a>\u2019s Wind Song<\/em> is his garden. For the artist, this garden is a constant source of inspiration.<\/p>\n\n\n\n
\n\n\n\n10. Foxy Lady II<\/em> by Frederick C. Graff<\/h3>\n\n\n\n![\"10.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/22_FrederickCGraff_FoxyLadyII_WCA_Watercolor-Paintings-1024x730.jpg\")
Foxy Lady II <\/em>by Frederick C. Graff, watercolor on YUPO, 23 x 32<\/figcaption><\/figure>\n\n\n\nArtist Frederick C. Graff<\/a> believes it\u2019s crucial for his art to go beyond simply recording facts and to convey what he sees in an \u201cunrestricted yet semicontrolled\u201d way.<\/p>\n\n\n\n\u201cIn Foxy Lady II<\/em>, for example, the complex array of planes in the foreground suggests the paraphernalia of a boatyard without actually describing it in detail,\u201d notes Graff. \u201cLikewise, the bluish-green masses in the background give the impression of a forest of pine trees.\u201d<\/p>\n\n\n\n
\n\n\n\n11. Green Dot Jug With Sunflowers\/Maine<\/em> by Carolyn Brady<\/h3>\n\n\n\n![\"Green](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/16_CarolynBrady_GreenDotJugWithSunflowersMaine_WCA_Watercolor-Paintings-752x1024.jpg\")
Green Dot Jug With Sunflowers\/Maine<\/em> by Carolyn Brady, watercolor on paper, 30 x 20<\/figcaption><\/figure>\n\n\n\nThe striking still life<\/a>, Green Dot Jug With Sunflowers\/Maine<\/em>, by Carolyn Brady demonstrates why the virtuoso colorist is considered a master of contemporary American Realism.<\/p>\n\n\n\n
\n\n\n\n12. Equilibrium<\/em> by Denny Bond<\/h3>\n\n\n\n![\"12.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/13_DennyBond_Equilibrium_WCA_Watercolor-Paintings-1024x825.jpg\")
Equilibrium<\/em> by Denny Bond, watercolor on paper, 30 x 22<\/figcaption><\/figure>\n\n\n\nDenny Bond<\/a> created Equilibrium<\/em> while dining in Jamestown, Rhode Island. \u201cI was originally attracted to the light hitting the teal walls,\u201d explains Bond. \u201cSo I urged my wife to move into the light but still leave room for me to see the equestrian image painted on the wall.\u201d<\/p>\n\n\n\nHe continues, \u201cThe story created itself. All of the elements were there. They just needed to be brought together.\u201d<\/p>\n\n\n\n
\n\n\n\n13. Stars and Stripes<\/em> by Judi Betts<\/h3>\n\n\n\n![\"13.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/11_JudiBetts_StarsAndStripes_WCA_Watercolor-Paintings-1024x687.jpg\")
Stars and Stripes <\/em>by Judi Betts, watercolor on paper, 15 x 22<\/figcaption><\/figure>\n\n\n\nIn this soft and poetic rendering, Judi Betts<\/a> uses the primaries and their complements. She exploits a variety of shape, size and value, creating lovely neutrals in the background of her floral painting, Stars and Stripes<\/em>.<\/p>\n\n\n\n\u201cColors can be lullabies or symphonies, but what makes them sing in either case is the position of complementary colors,\u201d says Betts. \u201cColors surrounded by their complements cause an explosion. It can be subtle or monumental.\u201d<\/p>\n\n\n\n
\n\n\n\n14. Damp Morning<\/em> by Dean Mitchell<\/h3>\n\n\n\n![\"14.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/21_DeanMitchell_DampMorning_WCA_Watercolor-Paintings-1024x691.jpg\")
Damp Morning<\/em> by Dean Mitchell, watercolor on paper, 10 x 15<\/figcaption><\/figure>\n\n\n\nDean Mitchell<\/a> manages to find the quiet poetry in the subjects of his watermedia paintings that may otherwise be overlooked, such as in the down-at-heel houses featured in Damp Morning<\/em>. The open space in the center of the composition forms a place for the eye to rest and meditate.<\/p>\n\n\n\n
\n\n\n\n15. The Mall<\/em> by John Salminen<\/h3>\n\n\n\n![\"15.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/18_JohnSalminen_TheMallCentralPark_WCA_Watercolor-Paintings-1024x853.jpg\")
The Mall<\/em> by John Salminen, watercolor on paper, 29 1\/2 x 35<\/figcaption><\/figure>\n\n\n\nFor this snow-covered composition, John Salminen<\/a> used a group of passersby to add a sense of scale. \u201cThe cold winter sunlight filtered through a maze of frost-covered limbs,\u201d he says, \u201cgiving the scene for The Mall<\/em> a frigid luminosity.\u201d<\/p>\n\n\n\n
\n\n\n\n16. Girls on a Date<\/em> by Dongfeng Li<\/h3>\n\n\n\n![\"16.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/25_DongfengLi_GirlsOnADate_WCA_Watercolor-Paintings-722x1024.jpg\")
Girls on a Date <\/em>by Dongfeng Li, watercolor on YUPO, 30 x 22<\/figcaption><\/figure>\n\n\n\nA professor of art at Morehead State University, Dongfeng Li<\/a> paints a variety of subjects including people of different ages and backgrounds, like the young women featured in Girls on a Date<\/em>. In each case, the artist manages to capture the humanity, grace, and dignity of his subject.<\/p>\n\n\n\n\u201cTheir different backgrounds can create interesting contexts,\u201d states Li. \u201cI\u2019m curious about these differences; so it\u2019s one of my primary motivations in creating my work.\u201d<\/p>\n\n\n\n
\n\n\n\n17. Winter Road<\/em> by Ian Ramsey<\/h3>\n\n\n\n![\"17.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/24_IanRamsay_WinterRoad_WCA_Watercolor-Paintings-1024x777.jpg\")
Winter Road<\/em> by Ian Ramsey, watercolor on paper, 18 x 24<\/figcaption><\/figure>\n\n\n\nThe white paper, or snow, became the platform of Ian Ramsey<\/a>\u2019s painting, Winter Road<\/em>, a scene in Southern Wyoming.<\/p>\n\n\n\nWinter compositions<\/a> rely greatly on the negative space provided by snow. The darker elements of the grass banks, ruts and background hills guide the eye down the road to the farm buildings.<\/p>\n\n\n\n
\n\n\n\n18. Mission District, Riverside<\/em> by Frank Francese<\/h3>\n\n\n\n![\"18.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/7_FrankFrancese_MissionDistrictRiverside_WCA_Watercolor-Paintings-1024x738.jpg\")
Mission District, Riverside<\/em> by Frank Francese, watercolor on paper, 21 x 29<\/figcaption><\/figure>\n\n\n\n\u201cThere\u2019s a little magic in Mission District, Riverside<\/em>,\u201d says Frank Francese<\/a>. \u201cIt doesn\u2019t happen for me all the time. It happens more if I just let myself go and trust my judgment and my heart.\u201d<\/p>\n\n\n\nThe artist chooses color based on emotional response<\/a> rather than what he actually sees. \u201cIn fact,\u201d notes Francese, \u201cI usually work from a quick black-and-white felt-tip field sketch. Then, I just make up my own colors as I paint.\u201d<\/p>\n\n\n\n
\n\n\n\n19. In Shine Mirror<\/em> by George James<\/h3>\n\n\n\n![\"19.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/GeorgeJames_InShineMirror_WCA_Watercolor-Paintings-1-1024x665.jpg\")
In Shine Mirror<\/em> by George James, watercolor on YUPO, 28 x 37<\/figcaption><\/figure>\n\n\n\nFollowing the death of his father, George James (1932-2016) painted In Shine Mirror<\/em> to memorialize him in a portrait. \u201cInstead of creating an exact likeness, I tried to capture his essence by leaving out the face,\u201d explained James. \u201cI used mirrors to imply spirituality and reflection.\u201d<\/p>\n\n\n\n
\n\n\n\n20. Michelle<\/em> by Scott Burdick<\/h3>\n\n\n\n![\"20.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/3_ScottBurdick_michelle_WCA_Watercolor-Paintings-757x1024.jpg\")
Michelle<\/em> by Scott Burdick, watercolor on paper, 27 x 20<\/figcaption><\/figure>\n\n\n\nThe idea for Scott Burdick\u2019s painting, Michelle<\/em>, came before he even sat down with his subject.<\/p>\n\n\n\n\u201cThis vision I had of this painting was so clear,\u201d recalls Burdick. \u201cI even did a sketch of it before the photo session to help Michelle understand the mood I was after\u2014that split second of rising in expectations as someone enters a room. The rest is left up to the viewer’s imagination.\u201d<\/p>\n\n\n\n
\n\n\n\n21. Fishermen, Myrtle Beach, S.C.<\/em> by Serge Hollenbach<\/h3>\n\n\n\n![\"21.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/9_SergeHollerbach_FishermanMyrtle-BeachSC_WCA_Watercolor-Paintings-1024x764.jpg\")
Fishermen, Myrtle Beach, S.C.<\/em> by Serge Hollenbach, watercolor on paper, 8 x 10<\/figcaption><\/figure>\n\n\n\nIn Serge Hollenbach\u2019s watercolor painting, Fishermen, Myrtle Beach, S.C.<\/em>, five fishermen are linked in value to the slats of pier\u2019s fence\u2014balancing the verticals against a strong horizontal format.<\/p>\n\n\n\n
\n\n\n\n22. Bewitching Branches, Backwoods V<\/em> by Christine Cozic<\/h3>\n\n\n\n![\"22.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/17_ChristineCozic_BackwoodsV_WCA_Watercolor-Paintings-1024x743.jpg\")
Bewitching Branches, Backwoods V<\/em> by Christine Cozic, watercolor on paper, 29 1\/2 x 41 1\/2<\/figcaption><\/figure>\n\n\n\nPart of a series of eight, this watercolor painting was a departure for Christine Cozic when she started the piece in 2006. \u201cI had done botanicals, but they were more tropical flowers,\u201d notes Cozic.<\/p>\n\n\n\n
The 45-minute drive to her daughter\u2019s school in Northern Louisiana each day introduced the artist to \u201call these gorgeous colors on the trees.\u201d<\/p>\n\n\n\n
\n\n\n\n23. Fjord Dal<\/em> by Stanislaw Zoladz<\/h3>\n\n\n\n![\"23.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/20_StanislawZoladz_FjordValley_WCA_Watercolor-Paintings-1024x733.jpg\")
Fjord Dal<\/em> by Stanislaw Zoladz, watercolor on paper, 22 x 30<\/figcaption><\/figure>\n\n\n\nThe snow-covered mountaintops and white patches of fallen snow in the foreground contribute a balance of shapes in Polish-born, Swedish painter Stanislaw Zoladz<\/a>\u2019 painting, Fjord Dal<\/em>.<\/p>\n\n\n\n\u201cIn April and May, after a long winter, the light comes back to Norway with force,\u201d says Zoladz.<\/p>\n\n\n\n
\n\n\n\n24. Urchfront Flowers<\/em> by Charles Reid<\/h3>\n\n\n\n![\"24.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/CharlesReid_urchfront-flowers_WCA_Watercolor-Paintings-1024x896.jpg\")
Urchfront Flowers by Charles Reid, watercolor on paper, 22 x 24<\/figcaption><\/figure>\n\n\n\nArtist Charles Reid<\/a> believes the beginnings of watermedia paintings are more important than the finishes. \u201cSometimes you\u2019re so keen to paint a flower<\/a> accurately, you become tight and literal,\u201d he explains. \u201cThe trick is to allow your paint and a little water to do the painting for you.\u201d<\/p>\n\n\n\n
\n\n\n\n25. The Red Sweater<\/em> by Jean Pederson<\/h3>\n\n\n\n![\"25.](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2018\/03\/5_JeanPederson_TheRedSweater_WCA_Watercolor-Paintings-740x1024.jpg\")
The Red Sweater <\/em>by Jean Pederson, watercolor on paper, 14 x 11<\/figcaption><\/figure>\n\n\n\nThe skillful use of shadows and highlights in Jean Pederson<\/a>\u2019s The Red Sweater<\/em> not only helps to create a strong painting but establishes a feeling of strength within the subject, too.<\/p>\n\n\n\n\u201cThough starting a new life in Canada, this young man hasn\u2019t forsaken his identity as Ugandan,\u201d says Pederson. \u201cFor many immigrants, melancholy accompanies hope\u2014a feeling I tried to convey in The Red Sweater<\/em>.\u201d<\/p>\n\n\n\n
\n\n\n\nA version of this article, written by Anne Hevener, first featured in the 25th Anniversary issue of <\/em>Watercolor Artist. <\/em><\/p>\n\n\n\nBe sure to tell us which of these 25 watermedia paintings is your favorite in the comments. Happy painting, artists!<\/strong><\/p>\n\n\n\nOther related Content:<\/strong><\/p>\n\n\n\n\n- Watercolorist’s Essential Workshop: Color and Value<\/strong> Video Download<\/strong><\/a><\/li>\n\n\n\n
- 5 Watercolor Artists Share Their Unique Processes<\/a>: Part 1<\/a> | Part 2<\/a><\/strong><\/li>\n\n\n\n
- Capturing Reflections Demo in Transparent Watercolor<\/strong><\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"
Get ready to get inspired to pick up a brush, a palette and start painting.<\/p>\n","protected":false},"author":4228,"featured_media":335597,"comment_status":"open","ping_status":"closed","sticky":false,"template":"page-templates\/new-article-page.php","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16917,37],"tags":[277592,15920],"acf":[],"yoast_head":"\n
25 Watermedia Paintings You'll Love | Artists Network<\/title>\n<meta name=\"description\" content=\"Celebrate Watercolor Artists 25th anniversary with 25 watermedia paintings from top artists. Admire the beautiful works and find inspiration for your own!\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artistsnetwork.com\/art-mediums\/watercolor\/watermedia-paintings-top-artists\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"25 Watermedia Paintings You'll Love\" \/>\n<meta property=\"og:description\" content=\"Celebrate Watercolor Artists 25th anniversary with 25 watermedia paintings from top artists. 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To paint autumn foliage, like that seen in October Russet<\/em>, Tony Couch<\/a> sticks to a range of warm colors \u2014 from red to yellow\/green. To keep his colors bright, he places complementary colors near one another on the paper. But, Couch doesn\u2019t mix the complements, which would create a dull gray.<\/p>\n\n\n\n Watermedia paintings like Cheng-Khee Chee<\/a>\u2019s Koi 98, No. 1<\/em> come to life as an expressive, intuitive abstraction<\/a>. They\u2019re filled with the surprises and accidental happenings that characterize wet-into-wet painting.<\/p>\n\n\n\n Colors blend and follow their own laws, and the paint is allowed to work for itself. Following that, the painting process moves into a more conscious and structured phase.<\/p>\n\n\n\n For the painting, Lily Sleeping<\/em>, Mary Whyte<\/a>\u2019s goal was to not only recreate the quality of light on her subject\u2019s face, but also the feeling of warmth and safety, and to capture the look and feel of a child\u2019s dream.<\/p>\n\n\n\n \u201cTo suggest the pattern of the quilt, I laid down washes, then dabbed in places with crinkled plastic wrap,\u201d explains Whyte. \u201cTo create an otherworldly, dreamlike effect, I dropped pieces of yarn into the background as well as pieces of paper towel I had cut into leaflike shapes.\u201d<\/p>\n\n\n\n Line is the most important graphic element in a painting, followed by value then color, according to Milford Zornes<\/a> (1908-2008). When painting, he mentally traced the progress of a line in four ways: horizontal, vertical, angular and curved.<\/p>\n\n\n\n \u201cWhen I\u2019m painting a tree,\u201d said Zornes. \u201cI think to myself, \u2018OK, go vertical out of the ground for the first trunk. Stop. Curve into the branches. Stop. Thrust out at an angle for the smaller branches. Stop.\u2019\u201d<\/p>\n\n\n\n The dim values in Peruvian-born, Mexican artist Jos\u00e9 Apaza\u2019s Tenuousness<\/em> reflect the meditative state of the figure. \u201cEvery human being is a summary of universal wisdom,\u201d he states. \u201cHumble people are my greatest teachers and have exerted a great influence on me.\u201d<\/p>\n\n\n\n Moldovan artist Eugen Chisnicean<\/a> painted Camara de Lobos, Madeira, Portugal<\/em> on an island in the Atlantic Ocean called Madeira.<\/p>\n\n\n\n \u201cIt was such a different world, unlike any place I\u2019d ever been,\u201d recalls Chisnicean. \u201cThe scene had everything I needed to make a painting: mountains, houses, boats, people. I tried to combine all the elements in a natural way and to create harmony between the shapes.\u201d<\/p>\n\n\n\n While standing on the observation deck of the Empire State Building, Paul Jackson<\/a> took reference photos for his large painting, Tapestry<\/em>.<\/p>\n\n\n\n \u201cThe photos were shot at dusk, but they allowed me to keep track of all the buildings,\u201d says Jackson. \u201cThis isn\u2019t photographic realism. Everything is in this painting \u2014 all of my feelings about, and memories of, New York City.\u201d<\/p>\n\n\n\n The subject of artist Joseph Raffael<\/a>\u2019s Wind Song<\/em> is his garden. For the artist, this garden is a constant source of inspiration.<\/p>\n\n\n\n Artist Frederick C. Graff<\/a> believes it\u2019s crucial for his art to go beyond simply recording facts and to convey what he sees in an \u201cunrestricted yet semicontrolled\u201d way.<\/p>\n\n\n\n \u201cIn Foxy Lady II<\/em>, for example, the complex array of planes in the foreground suggests the paraphernalia of a boatyard without actually describing it in detail,\u201d notes Graff. \u201cLikewise, the bluish-green masses in the background give the impression of a forest of pine trees.\u201d<\/p>\n\n\n\n The striking still life<\/a>, Green Dot Jug With Sunflowers\/Maine<\/em>, by Carolyn Brady demonstrates why the virtuoso colorist is considered a master of contemporary American Realism.<\/p>\n\n\n\n Denny Bond<\/a> created Equilibrium<\/em> while dining in Jamestown, Rhode Island. \u201cI was originally attracted to the light hitting the teal walls,\u201d explains Bond. \u201cSo I urged my wife to move into the light but still leave room for me to see the equestrian image painted on the wall.\u201d<\/p>\n\n\n\n He continues, \u201cThe story created itself. All of the elements were there. They just needed to be brought together.\u201d<\/p>\n\n\n\n In this soft and poetic rendering, Judi Betts<\/a> uses the primaries and their complements. She exploits a variety of shape, size and value, creating lovely neutrals in the background of her floral painting, Stars and Stripes<\/em>.<\/p>\n\n\n\n \u201cColors can be lullabies or symphonies, but what makes them sing in either case is the position of complementary colors,\u201d says Betts. \u201cColors surrounded by their complements cause an explosion. It can be subtle or monumental.\u201d<\/p>\n\n\n\n Dean Mitchell<\/a> manages to find the quiet poetry in the subjects of his watermedia paintings that may otherwise be overlooked, such as in the down-at-heel houses featured in Damp Morning<\/em>. The open space in the center of the composition forms a place for the eye to rest and meditate.<\/p>\n\n\n\n For this snow-covered composition, John Salminen<\/a> used a group of passersby to add a sense of scale. \u201cThe cold winter sunlight filtered through a maze of frost-covered limbs,\u201d he says, \u201cgiving the scene for The Mall<\/em> a frigid luminosity.\u201d<\/p>\n\n\n\n A professor of art at Morehead State University, Dongfeng Li<\/a> paints a variety of subjects including people of different ages and backgrounds, like the young women featured in Girls on a Date<\/em>. In each case, the artist manages to capture the humanity, grace, and dignity of his subject.<\/p>\n\n\n\n \u201cTheir different backgrounds can create interesting contexts,\u201d states Li. \u201cI\u2019m curious about these differences; so it\u2019s one of my primary motivations in creating my work.\u201d<\/p>\n\n\n\n The white paper, or snow, became the platform of Ian Ramsey<\/a>\u2019s painting, Winter Road<\/em>, a scene in Southern Wyoming.<\/p>\n\n\n\n Winter compositions<\/a> rely greatly on the negative space provided by snow. The darker elements of the grass banks, ruts and background hills guide the eye down the road to the farm buildings.<\/p>\n\n\n\n \u201cThere\u2019s a little magic in Mission District, Riverside<\/em>,\u201d says Frank Francese<\/a>. \u201cIt doesn\u2019t happen for me all the time. It happens more if I just let myself go and trust my judgment and my heart.\u201d<\/p>\n\n\n\n The artist chooses color based on emotional response<\/a> rather than what he actually sees. \u201cIn fact,\u201d notes Francese, \u201cI usually work from a quick black-and-white felt-tip field sketch. Then, I just make up my own colors as I paint.\u201d<\/p>\n\n\n\n Following the death of his father, George James (1932-2016) painted In Shine Mirror<\/em> to memorialize him in a portrait. \u201cInstead of creating an exact likeness, I tried to capture his essence by leaving out the face,\u201d explained James. \u201cI used mirrors to imply spirituality and reflection.\u201d<\/p>\n\n\n\n The idea for Scott Burdick\u2019s painting, Michelle<\/em>, came before he even sat down with his subject.<\/p>\n\n\n\n \u201cThis vision I had of this painting was so clear,\u201d recalls Burdick. \u201cI even did a sketch of it before the photo session to help Michelle understand the mood I was after\u2014that split second of rising in expectations as someone enters a room. The rest is left up to the viewer’s imagination.\u201d<\/p>\n\n\n\n In Serge Hollenbach\u2019s watercolor painting, Fishermen, Myrtle Beach, S.C.<\/em>, five fishermen are linked in value to the slats of pier\u2019s fence\u2014balancing the verticals against a strong horizontal format.<\/p>\n\n\n\n Part of a series of eight, this watercolor painting was a departure for Christine Cozic when she started the piece in 2006. \u201cI had done botanicals, but they were more tropical flowers,\u201d notes Cozic.<\/p>\n\n\n\n The 45-minute drive to her daughter\u2019s school in Northern Louisiana each day introduced the artist to \u201call these gorgeous colors on the trees.\u201d<\/p>\n\n\n\n The snow-covered mountaintops and white patches of fallen snow in the foreground contribute a balance of shapes in Polish-born, Swedish painter Stanislaw Zoladz<\/a>\u2019 painting, Fjord Dal<\/em>.<\/p>\n\n\n\n \u201cIn April and May, after a long winter, the light comes back to Norway with force,\u201d says Zoladz.<\/p>\n\n\n\n Artist Charles Reid<\/a> believes the beginnings of watermedia paintings are more important than the finishes. \u201cSometimes you\u2019re so keen to paint a flower<\/a> accurately, you become tight and literal,\u201d he explains. \u201cThe trick is to allow your paint and a little water to do the painting for you.\u201d<\/p>\n\n\n\n The skillful use of shadows and highlights in Jean Pederson<\/a>\u2019s The Red Sweater<\/em> not only helps to create a strong painting but establishes a feeling of strength within the subject, too.<\/p>\n\n\n\n \u201cThough starting a new life in Canada, this young man hasn\u2019t forsaken his identity as Ugandan,\u201d says Pederson. \u201cFor many immigrants, melancholy accompanies hope\u2014a feeling I tried to convey in The Red Sweater<\/em>.\u201d<\/p>\n\n\n\n A version of this article, written by Anne Hevener, first featured in the 25th Anniversary issue of <\/em>Watercolor Artist. <\/em><\/p>\n\n\n\n Be sure to tell us which of these 25 watermedia paintings is your favorite in the comments. Happy painting, artists!<\/strong><\/p>\n\n\n\n Other related Content:<\/strong><\/p>\n\n\n\n Get ready to get inspired to pick up a brush, a palette and start painting.<\/p>\n","protected":false},"author":4228,"featured_media":335597,"comment_status":"open","ping_status":"closed","sticky":false,"template":"page-templates\/new-article-page.php","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16917,37],"tags":[277592,15920],"acf":[],"yoast_head":"\n
\n\n\n\n3. Koi 98, No. 1<\/em> by Cheng-Kee Chee<\/h3>\n\n\n\n
\n\n\n\n4. Lily Sleeping<\/em> by Mary Whyte<\/h3>\n\n\n\n
\n\n\n\n5. The Wash<\/em> by Milford Zornes<\/h3>\n\n\n\n
\n\n\n\n6. Tenuousness<\/em> by Jos\u00e9 Apaza<\/h3>\n\n\n\n
\n\n\n\n7. Camara de Lobos, Madeira, Portugal<\/em> by Eugen Chisnicean<\/h3>\n\n\n\n
\n\n\n\n8. Tapestry<\/em> by Paul Jackson<\/h3>\n\n\n\n
\n\n\n\n9. Wind Song<\/em> by Joseph Raffael<\/h3>\n\n\n\n
\n\n\n\n10. Foxy Lady II<\/em> by Frederick C. Graff<\/h3>\n\n\n\n
\n\n\n\n11. Green Dot Jug With Sunflowers\/Maine<\/em> by Carolyn Brady<\/h3>\n\n\n\n
\n\n\n\n12. Equilibrium<\/em> by Denny Bond<\/h3>\n\n\n\n
\n\n\n\n13. Stars and Stripes<\/em> by Judi Betts<\/h3>\n\n\n\n
\n\n\n\n14. Damp Morning<\/em> by Dean Mitchell<\/h3>\n\n\n\n
\n\n\n\n15. The Mall<\/em> by John Salminen<\/h3>\n\n\n\n
\n\n\n\n16. Girls on a Date<\/em> by Dongfeng Li<\/h3>\n\n\n\n
\n\n\n\n17. Winter Road<\/em> by Ian Ramsey<\/h3>\n\n\n\n
\n\n\n\n18. Mission District, Riverside<\/em> by Frank Francese<\/h3>\n\n\n\n
\n\n\n\n19. In Shine Mirror<\/em> by George James<\/h3>\n\n\n\n
\n\n\n\n20. Michelle<\/em> by Scott Burdick<\/h3>\n\n\n\n
\n\n\n\n21. Fishermen, Myrtle Beach, S.C.<\/em> by Serge Hollenbach<\/h3>\n\n\n\n
\n\n\n\n22. Bewitching Branches, Backwoods V<\/em> by Christine Cozic<\/h3>\n\n\n\n
\n\n\n\n23. Fjord Dal<\/em> by Stanislaw Zoladz<\/h3>\n\n\n\n
\n\n\n\n24. Urchfront Flowers<\/em> by Charles Reid<\/h3>\n\n\n\n
\n\n\n\n25. The Red Sweater<\/em> by Jean Pederson<\/h3>\n\n\n\n
\n\n\n\n\n