the best of watercolor - exploring textures.pdf

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BEST OF WATERCOLOR
SPLASH
16
Exploring
Texture
edited by Rachel Rubin Wolf
CINCINNATI, OHIO
artistsnetwork.com
CONTENTS
Introduction........................4
Contributors....................136
Index.............................142
About the Editor...............143
Land and
Waterscapes
6
Close-Ups
22
Animal
Kingdom
38
1 2 3
Urban Scenes
64
The Still Life
80
Machines and
Contraptions
100
People
Everywhere
118
4 5 6 7
INTRODUCTION
Over the years we have found that texture is of particular interest
to many watercolor painters. Perhaps it is because watercolor is
so adaptable to so many different applications. Endless variations
can be produced with the help of common or unlikely tools—or by
merely directing water or air through the paint—or by tilting your
paper. Brushes are optional. In fact, Janet Nunn says, “Creating
art with texture forces you to rethink how to paint.” Yael Maimon
advises, “When it comes to texture, just go for it—wash, scrub,
glaze, scratch and lift!”
Nature produces an unending array of textures that artists can
copy or merely be inspired by. “Texture is the fabric of nature.
The crinkles, divots and folds in the natural world are what make
it astonishing,” observes Jill M. Cardell. How to get that intrigu-
ing texture on paper? Most in this volume agree: any way you
can! Sandy Delehanty notes, “The most interesting textures come
from pure experimentation.” On the other hand, some artists
work slowly and deliberately with only pure and simple water-
color techniques. Cindy Brabec-King informs us, “It is nothing
for me to have at least one hundred hours in a painting ….”
Texture, unlike tonal value, is not usually the foundation of a
painting. Texture acts not as the steel girders of a building, but
as architectural ornamentation with its vast decorative styles
and motifs that give beauty and interest to a structure. “Texture
to a painting is like salt to food—each enhances one’s flavor of
the subject,” comments Cheryle Chapline.
Some of its other facets include bringing one’s painting
to life. “Texture gives your painting a sense of believability,”
says James Toogood. And “Textures reveal what time does to
an object … telling the story of its life,” Deborah L. Chabrian
insightfully adds.
Irena Roman shared this short poem by William Carlos Williams
that in few words sums up the importance of contrasting color
and texture:
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens
I hope you enjoy this new and beautiful volume of
Splash.
Let me
know what you think!
—Rachel Rubin Wolf
4

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