75 years

Plein air
painting
With Watercolor
contents

3
Use Sketches to Build
28
Painting Off
a Sense of Place the Beaten Path

13
Jim McFarlane:
36
Working From Photos:
o n th e cove r
Fiji Coconut Palms
by Michael Killela.

Letting Go of Details The Landscape

2008, watercolor,
9 x 12.

Th is pag e
Le Citté
by Jim McFarlane.
2007, watercolor,
12 x 16. Collection
Judith Wambold.
plein air painting With Watercolor

Use Sketches
to Build a
PV Pier
2009, watercolor,
10 x 21. All artwork
this article collection
the artist.

Sense of Place
Architect and watercolorist David Savellano captures the beauty
of San Francisco by balancing speed, precision, and spontaneity.
by james duncan

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plein air painting With Watercolor

W ith equal parts

efficiency and expressiveness, David
Savellano quickly sketches the scene
before him, fleshing out the landscape
with his pencil before paint or colors
Sonoma
Square
2009,
watercolor,
21 x 9.

come to mind. He moves with a speed

that surprises onlookers and students,
yet his motions are deft and purpose-
ful. It’s an intense style that developed
naturally over years of travel sketch-
ing throughout the San Francisco Bay
Area, where Savellano lives and works.
“I’ve always drawn,” the artist explains,
“and beginning with a sketch helps me
quickly organize the image.” Once the
sketch is set, Savellano adds flashes of
color, bringing the painting to a finish
in a mere two to three hours.
An architect by trade—a career in
which a single project can take two
or three years of intensely detailed
work—Savellano enrolled in a Saturday
watercolor class 17 years ago to access
his creative side. The freedom of
expression that the class offered was
the perfect counterbalance to his day
job. Determined to augment his art
education, he enrolled in workshops
sponsored by the California Watercolor

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plein air painting With Watercolor

Springtime in
Yosemite
2010, watercolor
on paper, 21 x 9.

Association, where he learned from

renowned national and international
artists. Uruguayan painter Alvaro
Castegnet taught him the benefit of
effective brushstrokes, and Australian
artist Joseph Zbukvic showed him how
to use a variety of edges and values to
create interest. Northwest Watercolor
Society president emeritus Jerry Stitt
got him into the habit of writing down
the title of the piece before he starts
painting, to help maintain a sense of
purpose throughout the process. Each
artist influenced and complemented
his style of painting, but Savellano’s
own determination and growing confi-
dence helped him steadily improve. He
became his own staunchest critic, tried
new techniques, entered shows, and
eventually developed a signature style.
Because workshops had such a pow-
erful impact on his own development,
Savellano encourages his students to
take workshops offered by their local
art clubs.
Inspired by Jerry Stitt’s words of
wisdom—“As is true in golf, the few-
est strokes wins”—brevity plays a
major role in Savellano’s work. Now
that he’s an instructor, he amends
Stitt’s statement to say: “the fewest,
most expressive strokes wins.” Although
each line and stroke adds something
to the piece, Savellano explains that, in
his own work, “I don’t have the desire
or the patience to paint multiple lay-
ers to achieve a certain effect. I guess
you can say that I want the results and

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plein air painting With Watercolor

the gratification to come sooner rather

than later. I try to get the correct val-
ues and color the first time. It may or
may not happen, but that’s my goal.”
The artist’s work is atmospheric—you
can almost tell the time of day and
season in the first glance. He tries to
build a strong sense of place by putting
the viewer right in the middle of the
action—whether it’s crossing a street,
walking down a sidewalk or beach,
or moving through traffic during a
rainstorm. Savellano starts with the
physical elements of
a scene, such as trees, Hometown—
Park & Central
boats, and buildings, 2010, watercolor,
and he waits until the 20 x 14.
right moment to insert
details such as figures and shadows.
As people enter his view—children,
cyclists, tourists, and the like—he
quickly draws them in. They may only
appear for a moment, but they remain
in the picture because they caught his
eye and added to the personality of a
scene. “If it moves me, it goes in the
painting,” Savellano says. “Rendering
is describing details, but painting is
more of an expression, an emotional
response that you don’t plan, it just every month from the spring through the fall. Most of his
happens.” In his workshops he advises students are former artists who are eager to reignite their
students to capture the spontaneity of passion for art. The instructor approaches every class with
a scene in order to accurately depict a an open mind, willing and eager to tailor the direction of
sense of place. the workshop to suit the needs and desires of the partici-
Finding the time to paint while pants. “I will, however, ask the same question at the start of
maintaining a full-time architec- all classes,” Savellano says. “I ask them to raise their hands
tural career is impressive enough, but if they sketch a scene before they begin a painting, and very
Savellano also spends time teaching few of them do. But they’re well aware that they need to

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plein air painting With Watercolor

savellano’s plein air

painting Materials
Pa l e t t e
The artist uses 8-ml or 15-ml
watercolor tube paints from
Blick, Holbein, DaVinci, Winsor
& Newton, or Daniel Smith in the
following colors:
l ultramarine blue

l cerulean blue

l cobalt blue

l burnt sienna

l alizarin crimson or carmine

l cadmium red or

cadmium red light

l raw sienna or

quinacridone gold
l cobalt turquoise

l cadmium yellow light

l yellow ochre

l neutral tint

l permanent white gouache

Brushes
l synthetic rounds with a

good sharp point,

in sizes 6 and 12
l ½" or ¾" flat synthetic

watercolor brushes
l Escoda Toray White

synthetic short-handle
brushes, Nos. 6, 12, and 18
l Utrecht Series 80

(medium or large) round

quill brushes that lays flat when open; Other Park Street
l Niji Waterbrush (medium
Morning
minimum format size 5" x 7". l foam core backboard with
2011, watercolor,
or large) nylon round For his students, he a couple of metal clips or 21 x 14.
brush with a refillable suggests the following: masking tape to secure
water cartridge handle – Cheap Joe’s watercolor the paper
paint book, containing l small plastic 20-well

Pa p e r alternating sheets of palette that opens to 8” x 8”

l 11"-x-15" (1⁄4 sheets) 140-lb watercolor paper and closes to 4” x 8”
140-lb cold-pressed and 70-lb sketch paper l No. 2 pencil or 0.7-mm

paper from Saunders – Canson Montval 140-lb mechanical pencil with a

Waterford, Fabriano, watercolor pad, sizes soft lead (B or 2B)
Daler-Rowney, or Arches 9" x 12" or 6" x 9" l hat or sun visor
l wire-bound watercolor – Moleskine watercolor l small folding stool

paper book, or any type sketchbooks l travel bag

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plein air painting With Watercolor

practice drawing because they’re either Cadaques

2010, watercolor,
what I’m doing step by step.” Although these turn the
rusty or they never had the training to
begin with. When I ask them what they
13 x 19.
sessions go more slowly than the instructor
would if he were working alone, he believes
page for a
want to get out of my travel-sketching that it’s important for students to get the fundamentals right step-by-step
classes, many will say that they want before venturing into plein air painting. “I want people to demo by
to draw faster and develop a loose style develop those basic tools first so that when they step outside, david
of sketching and painting”—a tech- they can express the world as they see it in their own per-
savellano

➥
nique that is right up Savellano’s alley. sonal way.”
“Your speed, accuracy, and confidence On the second and third day of the workshop, the instruc-
in drawing will pay dividends and tor takes the class out into the San Francisco Bay area, where
improve your art,” he explains. he says there is “consistently beautiful plein air weather at
Most of his workshops are held over least nine months out of the year.” Savellano likes to go to
three days, with the first day spent familiar places to paint, but says, “You might stumble across
entirely in the studio covering basic a new place that inspires you, but you should try to make it
sketching and watercolor techniques. familiar through a series of sketches. A sense of place will
“Many students ask for practice ses- build from that, and you can use that feeling as you begin
sions when they paint with me,” he the actual painting.” Even if his first few sketches are lack-
says, “so I pick a subject and discuss luster, Savellano doesn’t let that impede him. If a completed

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plein air painting With Watercolor

demonstration >> Presidio Officer’s Home

1

Reference Photo

Step 1
Savellano quickly sketched the
major objects using a 2B graphite
pencil on Saunders-Waterford
140-lb rough paper. He focused
on fleshing out the architecture,
background trees, and the sur-
rounding landscape.

sketch doesn’t compel him to paint, start creating a scrapbook of their photos or pictures from continued
he simply tries a new angle, location, magazines and catalogs to use as reference material— next page
or time of day. “You have to let go of
a piece if you don’t feel that excite-
ment,” the artist reminds his students.
“Remember, not all sketches have the
images of people, cars, plants, and animals,” Savellano
explains. “I encourage them to practice drawing and paint-
ing these people and objects at different sizes to strengthen
their skills and give them confidence. I carry my scrapbook
➥
potential to be paintings.” Even if he in a painting bag when I’m on location, and if the need
is well beyond the initial sketch and arises, I don’t hesitate to use a reference photograph—it’s
deep into the painting phase, if the just another tool in my toolbox.”
thrill of the painting is lost at any Their surprise only grows when they watch Savellano
point, he will put the piece aside. sketch a scene or start laying in color, making every line
The instructor also pushes his stu- quick and effortless. However, as any experienced instruc-
dents in ways they don’t expect during tor knows, there’s nothing easy about creating art. Savellano
in a three-day workshop. “Most of reminds students that the most important thing is to “work
them are flabbergasted that I give hard to find your own artistic vision and style, and to paint
them homework,” he says with a scenes that elicit an emotional response and appeal to your
laugh. “I’ll work through some tech- artistic sensibilities.” Even with a degree in architecture,
niques in class, and then I’ll give which required extensive training in drawing, the artist had
them an assignment about those to go back to basics when he began working in watercolor.
techniques that they must complete “There is a lot of thought and practice that goes into it,” he
at home and bring in the next day.” says, “and after years of travel sketching and painting out-
One such task: filling three to four doors, I have developed a style that allows me to complete a
pages with sketches of people doing piece in one outing. I can now do in two or three hours what
different activities, such as running, used to take five or six, but it is a skill that didn’t develop
walking, or engaged in conversation. overnight. Many of us are self-taught, and if we want to get
“In another assignment I ask them to better we need to have a commitment to learning the craft.”

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plein air painting With Watercolor

demonstration continued
2 3

Step 2 Steps 3 & 4

His initial underpainting is a cool-to-warm color gradation, giving Savellano paints the trees and windows next because,
the building a warm, white tone. Starting at the top of the paper, “this will determine the darkest values in the painting.”
Savellano begins with a mixture of cerulean blue and cobalt blue,
blending in a touch of cadmium orange and raw sienna as he moves
downward. “Tilt the paper while painting this initial wash, then let it
completely dry before continuing,” he advises. “I also use a paper
towel to blot the damp paint in order to retrieve areas of white paper
I want to highlight.”

continued
next page

➥
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plein air painting With Watercolor

demonstration continued
5 6

Step 5 Step 6
Moving to the next darkest areas, the artist adds the dense Savellano turned his attention to the roof, and used a
foliage of the foreground trees using perelyne green, olive green, mixture of raw sienna, burnt sienna, and a touch of opera
and burnt sienna with “a worn out squirrel mop brush,” that and cadmium red light, which he felt would offset the
helps him achieve the varied and irregular edges of the leaves. green to create a compelling contrast.
“Twist and turn the brush while painting for more variety,” he
says. “This tree species is noted for its edges. The key is using
thick paint and blotting the edges with tissues to get the variety
and expressive edges you need for the leaves.”

7 8

Step 7 Step 8
At this point, Savellano is eager to begin painting in the shadow Foreground shadows on the lawn and the lines of the
shapes. “Shadows are one of my favorite elements in paintings,” wood siding and trim help add a sense of realism to the
he says. “By the time I start thinking about shadows, I know I’m finished piece.
going to be able to pull the painting together visually.”
continued
next page

➥
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plein air painting With Watercolor

The Completed Painting: About

Presidio Officer’s Home
2011, watercolor, 14 x 21.
the
Artist
David Savellano is a
native Californian and lives in
the Bay area. Although largely
self-taught as a watercolor
painter, he credits his 30 years
as a practicing architect with
giving him the drawing skills
and strong sense of perspec-
tive evident in his work. He is
a signature member of both
the California Watercolor
Association and the National
Watercolor Society, and he
participates in many local and
regional plein air events. He
also teaches travel sketching
and plein air watercolor work-
shops throughout the United
States. For more information,
visit www.davidsavellano.com.

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plein air painting With Watercolor

Jim McFarlane:
Letting Go of the Details

Kahn Al Kalili
Market

During his five-week plein air workshop in

2007, watercolor,
14 x 20. Private

Pennsylvania, American Watercolor Society

collection.

president Jim McFarlane shows students

of all levels how to focus on the bigger picture.
by naomi ekperigin

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plein air painting With Watercolor

A s Jim McFarlane
points out area landmarks from the
front seat of his car, I feel as though
I’m reaping the benefits of my very
own private workshop. Although I
“When I conduct a demonstration, I
make sure to show the students some-
thing they can apply to any subject or this
style,” the artist explains. “I’m showing
them what I do, but I tell them to follow
Blue Springs Inn
1998, watercolor,
21 x 29. All artwork
article collection
the artist unless
otherwise indicated.

only planned on observing his class, their painting. If someone prefers a dif-
as he taught me about Valley Forge, ferent style, I encourage them to go with it.” Of course, if
Pennsylvania, and the diversity a student did prefer a different style, it’s more than likely
of subject matter that is ideal for that McFarlane could offer several useful tips. Although the
watermedia painting, I became eager instructor currently paints representational and abstract
to pick up a brush. This is, in part, landscapes in watercolor, he began his study of art with a
due to the fact that McFarlane is an B.F.A. in illustration at the Philadelphia College of Art (now
effortless teacher, and his love of art The University of the Arts), and then went on to earn a mas-
shines through in every suggestion ter’s degree in education with a concentration in jewelry
and helpful hint. He recently retired making from the Tyler School of Art, at Temple University,
after more than 30 years spent also in Philadelphia. In fact, when McFarlane first experi-
teaching art to high school students, mented with watercolor in college, he didn’t like it. “I had to
and he has a clear and supportive take it as part of my major,” he recalls. “It was messy, and
teaching style that helps artists of all I couldn’t control it. After I graduated, I’d attend art shows
levels make notable improvement in and exhibitions and be blown away by the watercolors. That’s
a short time. when I started to try it again.”

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plein air painting With Watercolor

At this point McFarlane was work- a few years of working with traditional transpar- Market in
ing full-time as a teacher, which made ent watercolors, he began incorporating gouache Venice
2008,
it hard to find the time to take classes and collage into his artistic arsenal. As he drives, watercolor,
on his own, but he found that teaching he points to an old farm across the road, with a 12 x 16.
actually helped expand his creative rep- weathered red façade and tall grass obscuring the
ertoire. “Being an art teacher, you have entrance. “Sometimes the subject tells me what I should use,”
to teach everything,” he says. “I was he says. “I look at that farmhouse and think gouache. I choose
learning how to work with watercolor as my medium the way I choose my subject: based on an emo-
I was teaching it.” In the beginning, the tional response.”
artist created very detailed drawings and The instructor hopes that his workshop participants feel
then filled them in with watercolor. “It the same, and for his yearly monthlong plein air workshop,
was my way of controlling it,” he says he takes Pennsylvania-area artists to various picturesque loca-
with a laugh. “Now, students actually tions of historical significance. In a way, the students are
come to my workshops to loosen up.” shown the beauty of their own backyards, which they may
McFarlane’s versatility as an artist have overlooked. McFarlane has conducted this workshop
has extended to watermedia, and within every summer since 1997.

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plein air painting With Watercolor

le f t
Under Irish Skies
2007, watercolor,
14 x 20. Private
collection.

b e low
Before students
scattered to paint
various views, Mc-
Farlane discussed
the importance of
value studies.

Many of the students in these sum- Thursday sessions with no more than 12 participants in each.
mer workshops have studied with This allows for ample painting time, personalized instruc-
McFarlane before, and he’s amassed tion, and demonstrations that become quite interactive. “I
quite a following among local water- just like to do enough of a demonstration to get them started,”
colorists. For many years the artist also McFarlane says. “They’ve come to attend a workshop, not a
taught weekly classes for the Greater watch-me-shop.” Although he notes that many of his students
Norristown Art League, the Doylestown are established painters, he focuses on foundational tech-
Art League, the Wayne Art Center, niques that are useful at any stage of an artist’s development.
and the Woodmere Art Museum, all For the fifth and final
in Pennsylvania. He now concentrates class, students focused
on weekend and weeklong workshops on creating blue value
for the aforementioned groups, as well studies. McFarlane felt
as for the Atlantic Cape Community that was a natural place
College and the Pine Shores Art to end after learning
Association, both in New Jersey; and the how to employ a palette
Hudson River Valley Art Workshops, in consisting only of the
New York. His sessions always fill up primary triad, how to
quickly, and waiting lists begin months control the consistency
in advance. of watercolor washes,
For his July plein air workshop, stu- and how to simplify
dents have the choice of five Tuesday or spatial planes. “When I

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plein air painting With Watercolor

“I can tell as you’re putting down color you’re

thinking ‘tree’,” the instructor cautioned one
student. “Forget what it is and get the large
shape in. I know you can draw the tree, and
that’s great, but the question is whether you can
see it as a simple shape and put it in the correct Safe Harbor

value relationship to the rest of the painting.” 2008, watercolor,

14 x 20.

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plein air painting With Watercolor

became a high school teacher, I learned

very quickly that having clear objectives
was crucial for success,” he explains. “I
like to give them the basics and let them
take it where they want and apply it
where it makes the most sense for them.
“The blue study is the method I use
to visualize and evaluate the design for
a potential painting,” the instructor goes McFarlane ended the day’s session
with a critique. He also left his easel
on to explain. “Whether you’re portraying and palette (left) set up after his
a traditional arrangement or something demonstration so that students could
see what colors he used.
from your imagination, doing this study
is a great way to avoid mistakes.” In his
outline for the week’s lesson, he explains The final week’s location was the Peter Wentz Farmstead,
that the white of the paper should be used an 18th-century Pennsylvania German farmstead, which is on
for sunlight, and then all remaining val- the National Register of Historic Places. The location offered a
ues should be reduced to one light, one myriad of painting options, including a manger of newly born
middle, and one dark. “Using a limited lambs, acres of bright-green pastures, and a fully restored
number of values requires that you link Georgian-style stone house. As students arrived, McFarlane
areas of similar values together,” he says, set up his easel for the demonstration, having preselected a
“resulting in larger shapes and sounder setting during previous workshops. Unfortunately, the view
compositions.” was under construction, but the instructor still made use of it.

Cows of Clare
2007, watercolor,
14 x 20.

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plein air painting With Watercolor

He focused on the side of a building, if you can.” The instructor immedi- Rain in Nice
which offered strong geometric shapes ately began creating his study using 2007, watercolor, 12 x 16.
Private collection.
and an array of values, as the sunlight Winsor & Newton ultramarine blue
hit one side of the building and pro- without a graphite underdrawing. “I
vided strong shadows for the area under do two quick thumbnails in graphite to determine my com-
the roof. Although a small construction position, but my blue study is done only with paint,” he said.
crew moved in and out of the scene, “I like to start with watercolor as a sketching tool and work
McFarlane didn’t see them as a hin- outward from there.” He created his study in three stages and
drance to his demonstration. “If I had advised students to do the same. “When I choose my subject,
more time, I’d certainly put the figures the first thing I do is look carefully and ask myself, Where is
in,” he said when students commented the sunlight?” he explained. “Once I know that, I make that
on the potential confusion of the moving area the white of my paper. From there I know that anything
workmen. “They make it interesting. I that isn’t sunlight at least gets a light value. This is particularly
didn’t plan for them to be there, but this useful when painting en plein air, because you know shadows
is a gift. I believe in opportunistic paint- are going to move quickly. Getting in those basics immedi-
ing. Take advantage of the unexpected ately sets you up for success.” He urged students to ignore the

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plein air painting With Watercolor

details and look for groupings of values such preparatory work is crucial
as much as possible. for further creative exploration.
“Do the studies have to be blue?” one As one student worked on her
student asked as the instructor walked blue study, the instructor looked
around the scene from various angles. over her shoulder and assessed
“Not necessarily,” McFarlane replied. “I her rendering of the scene.
like blue because you get the whole range “You’re getting caught up in
of light. You can create both bright sun- the minutiae,” he cautioned. “I
light and night light. Regardless of the can tell as you’re putting down
color, my goal is to create a clear study color that you’re thinking ‘tree.’
that I can use to create a painting. If you Forget what it is and get the
above
could give your study to someone as a large shape in. I know you can draw the tree, and that’s great,
Ventura Harbor
guide to painting and they could accu- but the question is whether you can see it as a simple shape 2007, watercolor,
rately render the various values, then and put it in the correct value relationship to the rest of the 14 x 20. Private
collection.
you’ve done a good job.” painting.” Others rushed through their blue studies, eager to
Although this idea of creating a begin employing a full palette of colors to capture the bright b e low

roadmap may seem incongruous for a summer sun that illuminated the farmstead. This seemed nat- Le Citté
2007, watercolor,
teacher who students often seek out to ural, given the directive to avoid the details and capture large 12 x 16. Collection
loosen up their style, McFarlane feels shapes and values. A good blue study, however, can also point Judith Wambold.

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plein air painting With Watercolor

out potential problems with a composi- Via Guelfa,

Cortona
the light to come from another direction? My turn the
tion or value pattern, and it often has blue study is where I can try that out.”
to be done more than once. “Take your
2007, watercolor,
12 x 16. Collection The artist’s ability to use such moments
page for a
time with this,” McFarlane warned. Ann Marie Girard. to his advantage have come from years of step-by-step
“This is supposed to be the blueprint painting and a desire to depict his experience demo by
for your painting. It may seem boring, with the subject instead of every detail that his eye registers. “I jim
but it’s better to do six blue studies than paint for myself,” he says. “I’m not trying to sell, sell, sell. I’m
mcfarlane

➥
one bad painting.” aiming to capture moments that move me.” Much of the art-
As the instructor worked on his ist’s work is inspired by his international travels and is created
blue study, he was just about to put both on location and at home in his studio. “I do take many
in his light value when the sun disap- photographs,” he says, “but I’ll often create a blue study from
peared. A collective concern could be the photograph and then work from that.”
heard among the students as they won- He somehow manages to fit his workshops in between
dered how the scene would fare. “Don’t trips across the world, serving as president of the American
worry,” McFarlane said with a laugh. Watercolor Society, remodeling his home—and, of course,
“Suppose it’s not sunny and I want it to painting. Looking at the artist’s full schedule and inspiring
be sunny? Suppose the sun is lighting teaching style, it would seem that the saying isn’t quite true—
the tree from one direction, but I want those who can both do and teach. 

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plein air painting With Watercolor

demonstration >> Colliery

1 Step 1
Underdrawing
I did my preliminary graphite
drawing on a piece of 14"-x-20"
Arches rough-pressed paper.
I like to use 140-lb paper for
landscapes because I’ve found
that 300-lb paper soaks up the
color. This drawing is a little
more complete and darker than
I would usually do. For me, less
drawing makes for a looser
painting.

Step 2
Blue Study
Reducing my image to three
or four value areas is a step I
always take before I begin my
paintings. In this case it is three
and they are portrayed with the
three values on the right of the
sketch. This helps me decide
which zone—foreground, middle
ground, or background—is going
to be the focus of the painting.
When I translate this to color
2 for the final painting, I base it
on a nine-value scale. The area
shown in the lightest value (1)
gets fewer and lighter values;
the middle value (2) represents
a larger and slightly darker
range; and the dark value (3)
represents all the values on a
nine-value scale and the white
of the paper. This arrangement,
as shown here, is a traditional
darker and more detailed fore-
ground to lighter less detailed
background. However, by chang-
ing this pattern it is possible to
switch the focus of the painting.

continued
next page

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plein air painting With Watercolor

demonstration continued
3 About
the
Artist
Jim McFarlane is the
president of the American
Watercolor Society, of
which he is a signature
member. He also holds
signature status in the
Philadelphia Water Color
Society (PWCS) and the
Pennsylvania Watercolor
Society. He has served on
the board of directors and
as president of the PWCS
and the Greater Norristown
Art League. He conducts
Step 3: Blocking in the Light and Middle Zone workshops, juries shows,
demonstrates, and is a fea-
Based on my blue study, I have painted the background with cool, light colors and have
painted the middle ground with darker colors. Some of these areas may have to be tured speaker on watercolor
darker in the final painting, so at this stage I’m painting them with values lighter than painting and art history
they might eventually be. throughout the country. His
paintings have been hon-
ored with numerous awards
in local, regional, and
4 national exhibitions and has
most recently participated
in 2011 Taiwan Interna-
tional Watercolor Society
International Exhibition and
the 2012 Third Invitational
Exhibition of Contemporary,
International Watermedia
Masters Exhibit. In 2002
and 2003, he received Best
of Show awards in PWCS
exhibitions. He has also
been honored with the
PWCS Crest Medallion,
which is given for consistent
excellence in watermedia
painting. For more informa-
tion, visit www.jim
mcfarlanestudio.com.

Step 4: Blocking in the Dark Zone

My blue study portrays the entire front zone as dark; however, that tells me that it can be
painted with all the values on the nine-value scale and will have unpainted white paper
as well, which will not appear in any other zone. I don’t feel bound by the “real” colors,
and I put the pigment on freely to let it mix on the paper for excitement. Here again, note continued
next page

➥
that I am painting with lighter values than those that will appear in the final painting.
Before moving on, I felt it was necessary to lighten the background and some of the
middle ground slightly.

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plein air painting With Watercolor

Step 5: The Completed Painting Colliery

2010, watercolor, 14 x 20.
More detail, a wider range of values, and Collection the artist.
the bright whites of the paper help to keep
the viewer in the foreground of the paint-
ing, which is exactly what I planned in my
blue study. Although the painting is cer-
tainly a representation of the photographic
image, I feel that the creative use of color
and the flashy calligraphy removes it from
being just a copy. Working more from my
study and less from the photograph adds
to that result as well.

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plein air painting With Watercolor

Painting
Fiji Coconut Palms
2008, watercolor, 9 x 12.
All artwork this article collection the
artist unless otherwise indicated.

Off the Beaten Path

A love of travel has taken Michael Killelea all over the world.
A passion for watercolor has ensured that he’ll never forget it.
by naomi ekperigin

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plein air painting With Watercolor

S etting up an interview
with Buffalo artist Michael Killelea was
no easy feat. After our initial meeting
at the Burchfield Penney Art Center’s
to share his infectious enthusiasm for exploration and self-
discovery with painters of all levels.
“I just like the way it works,” Killelea says when asked why
he paints in watercolor. He sighs, seemingly at a loss for
Watermedia Weekend in March 2011— words, but is not frustrated. “It’s just like breathing to me. I
during which we swapped travel stories don’t really analyze it. Painting is instinctive at this point.” It
and discussed the growing popularity seems that Killelea was destined to become a watercolorist.
of watermedia—a series of emails And although he may have taken a somewhat circuitous
finally led to an appointment to speak path to get there, that’s just fine for this avid traveler and
over the phone. “I’ll be in and out outdoorsman who admits to feeling chronic wanderlust.
much of September, and traveling to After serving in the U.S. Navy in the mid-1960s, the artist
Africa in October,” he wrote in July. took advantage of the GI Bill and studied advertising art at
“Let me know when you’re available Farmingdale State College, in New York. From there, he went
and we’ll work it out.” Killelea’s upbeat on to work in the newspaper industry, serving as the photo
and adventurous approach to both his editor and then art director at Newsday. He then worked as the
life and his art has only grown since art director for the New York Daily News and
he began painting full-time. The artist the Boston Herald. Although he enjoyed the Isola Spargi
Anchorage
recently added teaching to his resume, fast-paced environment, fine art was always 2008, watercolor,
which has given him an opportunity Killelea’s true calling, and he supplemented 9 x 12.

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plein air painting With Watercolor

Remarkables in the Morning

2008, watercolor, 9 x 12.

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plein air painting With Watercolor

his practical
5 education with evening approach to capturing inspiring
6 vistas. “When you’re painting
classes at Pratt Institute and the School en plein air, you’ve got to get it done,” the artist says. “The
of Visual Arts, in New York City. “Your limited amount of time makes you a stronger painter because
own personal sense of worth can’t come you have to just keep going.”
from your job,” the artist says. “It has Years of on-site painting has helped Killelea develop a
to come from inside. When I realized streamlined process that enables him to make the most of
that, that’s when I started painting even the shortest painting sessions. “I often travel with my
seriously.” wife, and we go on tours,” the artist explains. “We have a
“Painting seriously” has meant set schedule, and sometimes it could just be half an hour at
that Killelea takes his paints wherever a location. When I was in Cairo, I was determined to paint
he goes, be it China, India, Holland, the pyramids, but I only had 20 minutes. Luckily, I’m a fast
or Bar Harbor, Maine. Although he painter. I don’t want to finish something in
has worked in other media, Killelea less than an hour, but if I have to, I will.”
Piraeus Harbor
finds watercolor to be the best fit for 2007, watercolor, To facilitate this process, the artist travels
his spontaneous, direct, and decisive 7 x 10. with a utilitarian set of materials, including

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plein air painting With Watercolor

7"-x-10" and 9"-x-12" watercolor pads; a Taj Mahal,” the artist remarks. “Not only is Loading Ganges
Firewood
folding palette that he hooks onto his it a mob scene but there’s no way I could
2011, watercolor,
thumb; four brushes; and an empty begin to do it justice—why would I bother? 9 x 12.
water bottle that he fills on location. I chose to paint a street scene, so I set up my
Packing light enables him to keep easel in a shaded area off to the side of the crowd.”
moving—and painting—for as long as The artist also notes that working in these less popular
he can. areas usually allows for longer stretches of painting time and
Killelea has visited six continents and can offer insight into the culture and the people that can’t be
seen many of the world’s greatest natural learned in a guidebook. Recalling his trip to India, he shares
wonders, yet when he chooses a spot to a story of a “local admirer” of his work. “About 45 minutes
paint, it’s usually an unassuming street into my painting session, I had attracted a small crowd of
corner or a hilltop frequented more by people who were watching me work,” he says. “Suddenly, a
locals than visitors. “When we were in cow walked over and joined the group. Cows are sacred in
Agra, India, I didn’t want to paint the India, so no one was going to hit it or anything to get it to

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plein air painting With Watercolor

John Harvey,
NYFD
Fireboat
1998, water-
color, 12 x 9.

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plein air painting With Watercolor

leave. One man shoos it away with some Tom Boyle’s and currently serves as the secretary of the
Proclamation
loud noises, and a few minutes later, it group’s board of directors. In his maritime
2007, watercolor,
comes back. He shoos it away again, and 20 x 28. paintings, he works from life as much as
within minutes, it’s back. One of the possible, even enlisting family members as
men said to me, ‘Sir, the cow appreciates models. “For the painting Tom Boyle’s Proclamation, I had my
your painting.’ So, sometimes I get to son pose for each of the men in the row boat,” he explains. “I
connect with more than just the people.” had him sit on a can with a bowl in his hand that he held like
In addition to preserving images of far- an oar. He was a good sport about it.” This piece was inspired
off lands, Killelea also enjoys painting by the story of the famed American privateer who proclaimed
maritime scenes, both historical and a blockade on the United Kingdom during the War of 1812.
contemporary. “I’ve always had a “He was just one guy, and he managed to put the entire
connection to the sea,” says the native country under blockade,” Killelea says of the source material.
of Long Island, New York. “I grew up by “The idea of one man having that kind of confidence and
the beach, and I knew that I wanted to influence was very inspiring to me.”
join the Navy when I was in high school Perhaps the artist can relate to Boyle’s boldness, as Killelea,
because I wanted to travel by water.” He’s too, ventures out on his own to navigate and commemorate
been a member of the American Society unknown countrysides and harbor views. For Killelea, en
of Marine Artists for more than 20 years plein air is the only way to paint. On his website, he writes,

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plein air painting With Watercolor

“There is an immediacy there that Pt. Vicente Light, Artist and instructor
encourages an honesty in the work of
California About Michael Killelea
any artist willing to put themselves
2011, watercolor,
9 x 12. Private
the was born on Long Island
and now lives outside of
at the mercy of the elements.” This collection. Artist Buffalo, New York. He is
experience is also somewhat humbling a signature member of
for a painter who works against the the American Society of Marine Artists and serves
clock, rapidly changing light, large as the group’s secretary and a member of its board of
directors. He is also a member of the Niagara Frontier
crowds, and inclement weather, all in Watercolor Society and sits on the board of the Niagara
the hopes of recording his experiences Arts & Cultural Center, in Niagara Falls, New York. His
outside of his comfort zone. “I’ve never work has been exhibited at such institutions as the
really painted to be ‘in business,’” the Frye Art Museum, in Seattle; the Cummer Museum of
artist says. “I paint because I can’t help Art & Gardens, in Jacksonville, Florida; the Riverfront
Art Center in Wilmington, Delaware; the Chesapeake
myself. I get such a rush when I see a Bay Maritime Museum, in St. Michael’s, Maryland; the
finished painting that captures what I Vero Beach Museum of Art, in Florida; and many oth-
wanted.”  A ers. For more information, visit www.killeleart.com­­­.

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plein air painting With Watercolor

Working
From
Photos:
The Landscape
Supplementing reference photos with on-site sketches and
notes can make a noticeable difference back in the studio.
by lori woodward

Here is my plein air study of Duck Pond at Acadia National Park. When I’m painting on location, I rarely attempt to complete an entire paint-
ing on the spot. Because I intend to work later on a larger, well-planned painting in my studio, my goals when outdoors are simple: record
accurate color, shapes of trees and mountains, and a sense of the scene’s perspective from where I’m sitting. These are the visual cues that
photographs alone are unlikely to provide for me. Later, in my studio, I’ll employ this study along with a dozen or so photographs to design a
composition for a finished painting.

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plein air painting With Watercolor

E ver since the invention

of the camera, artists have been supple-
menting their plein air studies with
photographic references. They are a valu-
able tool for those who enjoy painting in
and listening to the birds, breezes, and waves—taking in all the
elements that my senses can store. Then I sit down and take note
of the colors by jotting my observations down in a notebook and
supplementing those notes by assigning colors and values to trees,
mountains, and water using color charts that I carry along with
the comfort of their studios. Problems me. Many times I spend an hour or two painting and sketching—
inevitably arise, however, especially when not with the intent of making a finished painting on the spot, but
the artist has no prior on-location expe- in order to capture visual information that I will need later in order
rience or emotional connection with the to create a believable painting in my studio setting.
scene in the photograph. Sometimes I feel inclined to write down, in a pocket-size
I admit that I would rather paint in notebook, how I feel about the place so that even months after
the comfort of my studio while not hav- the fact I can begin to recall all the emotions and visual facts
ing to feel rushed or interrupted by
the changing light, weather condi-
tions, or biting bugs. Although I
acknowledge the benefits of paint-
ing from life, I rarely complete my
compositions entirely on location.
My preference, when painting out-
doors, is to travel light with either
a sketch pad or a small watercolor
kit with one brush, a lapboard, and
11"-x-14" sheets of watercolor paper.

Rediscovering
My Original
Excitement
When painting from photographic
references in the studio, I strive not
to produce merely a pleasant picture
but to convey what my heart and
mind want to say about a scene. A
painting of a beautiful spot means
more to me than just how the paint
is applied or whether the result is a
good composition. My goal is to cre-
ate what amounts to visual poetry.
When I arrive at a beautiful loca- Once I’ve downloaded the digital photographs to my computer, I review them
tion, such as Acadia National Park, and move a dozen or so to a separate file folder on my computer. I then print
these using a nine-image format so that I can easily review them. From these,
in Maine, I begin gathering visual I’ll select one photo for my overall composition and refer to the others for
information while walking around details.

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I typically alter my images using

Adobe Photoshop Limited Edition
so that I can easily distinguish the
masses of the landscape. Here is an
example of an unaltered photo-
graph. Notice that there are only
two major value areas: one for the
sky and water, and a darker value
for all the landscape elements. The
tree and mountain layer values
are so close that it’s difficult to
say where one ends and the other
begins. It would indeed be difficult
for me to use this unaltered photo
as my primary reference.
When compared to my plein air
study, this photograph does not
sufficiently represent the original
scene. Had I not taken the time
to paint a study from life, I’d be
at the mercy of my inferior photo
references and therefore unlikely to
produce an attractive result in paint.

Here is the same photo as pictured

above, but now with photo editor
enhancements. I simply selected
the brightness/contrast option and
increased the brightness by five to
10 points. Likewise, I increased the
contrast by 10 to 15 points. Then I
increased the overall color satura-
tion slightly.
Each computer monitor registers
differently. I recommend playing
with the settings until you get the
results that give adequate visual
information. Be sure to look for a
separate value for each layer of
the landscape. For example, you
should be able to easily see where
the layer of trees meets the edge of
the mountain and where the grass
layer meets the bottom of the stand
of trees. Your photo should look
more like puzzle pieces—each with
a slightly different value rather than
just one value mass for the entire
land and tree area.

Sometimes it’s helpful if I further

separate the layers with a marker.
I outline each major mass that I
see, knowing that later I’ll need to
visually make them different by
separating them by value or color
with paint. By delineating each layer
with a different value, I make some
areas come forward and others re-
cede. The overall effect puts space
between the layers and creates
atmospheric perspective.
There is no recipe for where one
layer ends and the next begins. My
goal is to decide which parts come
forward and which parts recede.
Later during the painting process,
I’ll push some of these layers back
by glazing over them with a wash
of Chinese white and make the
foreground layers come forward
with increased contrast and more
saturated color.

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plein air painting With Watercolor

of the place while preparing to paint that

scene in the comfort of my studio.

Composing With
the Camera
Years ago, when on location, I normally
took dozens of photos from every imag-
inable standpoint, only to realize later
that each photo had a different perspec-
tive point. These days, I make sure all my
photos are taken from one vantage point
so that the resulting references show one
originating perspective. For example, if I
were to photograph a scene while looking
to the left of a rock, and then take another
photo of the same scene a few feet to the
right of that rock, I’d see two sides of
the rock. In this case, the photographs
only confuse me, because they have two
vantage points. If I were to attempt to con-
struct a painting using two photographic
perspectives, the resulting work might
confuse the viewer as well.
To make sure you don’t fall into this
trap, I advise planting your feet in one
spot and taking all your reference photos
from that spot. Even when you zoom in
with your lens for a closer look at distant
details, the perspective changes slightly,
so keep that in mind later while compos-
ing your painting.

Improving
References With
a Photo Editor
After downloading photos onto my com-
puter, I select several of the best and
save these in a separate file folder. For
example, for the demonstration paint-
Digital photographs give me the option of zooming in to areas
ing shown here, I filed the best photos either on my computer monitor or by referring to a printed
of Duck Pond in a new file folder within version of a zoomed digital photo. One caution: When zoom-
my main pictures folder. After they were ing in to an area that is in a distant part of the landscape,
be careful not to paint too much detail. Consider how much turn the page for a
moved to the new folder, I reviewed each detail you would see if observing that area from life.
step-by-step demo
carefully and finally selected one image
by lORI WOODWARD

➥
Sometimes I find it easier to zoom in on an area with my
as my main reference. This image will computer monitor rather than from a printout. Here I zoomed
most resemble the final painting. in so that I could see how the rock formations separated from
the forested areas on the distant mountain.
In order to make each layer of the

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demonstration >> Duck Pond, Acadia

Step 1 continued
next page

➥
Ten years ago I would have begun with a complete and detailed graphite line drawing
before working in paint. In recent years I’ve learned to draw with my brush, so I begin
painting directly. I let each layer dry completely before moving on to the next.
Here I used a size 6 round kolinsky brush. As I am painting the narrow tops of the tree
line, I pull up on the brush and let the tip meet the paper, forming a thin line. For the
larger areas of the wash, I press down with the brush so that it releases more paint.

landscape stand out and appear separate contrast and cooler colors if they are to recede properly. At the
from the others, I use my computer’s same time, I can plan to treat the closer masses with stronger
photo editor to slightly lighten and contrast and saturated color.
increase the contrast of the entire photo.
The resulting image better resembles
the actual scene than does the unedited Setting Up to Paint
photograph. I work from my photo references and also from my computer
I print two copies of the edited photo, monitor, which I set up to the left of my working area. The main
then I outline the large layers of the land- printout provides me with enough information to lightly sketch
scape masses on one of the printouts with in the outlines of the large masses. I don’t usually draw many
a Sharpie marker. This simplifies the pic- details with a pencil, preferring to draw the shapes directly
torial elements and clearly shows which using paint and brush. During the painting process, I zoom in
masses will need to recede in the paint- to the image on my computer monitor to see details. Likewise,
ing. For example, the distant tree-lined I’ll zoom out to see how each area of the photo integrates with
ridge and mountain will need to have less the whole scene.

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plein air painting With Watercolor

demonstration continued

Step 2 continued
next page

➥
At this point, I began to further define individual trees with successive washes of slightly
darker color. It’s important to remember that each glaze covers up more of the light that
the paper itself reveals so that even if the second glaze is the same value as the first, the
result will be twice as dark.

Mixing Natural greens and blues with a variety of earth colors.

Greens For lighter greens, I mix permanent sap green with raw
sienna. For darker greens, I add burnt sienna to either sap or
I don’t trust the colors that are on my viridian green. For the very darkest green, I mix viridian with
computer monitor or my photographic a lesser amount of permanent alizarin crimson. In the same
printouts. Rarely are they accurate. way, I tone down my blues by adding a touch of burnt umber
Instead I think of the photograph’s col- to either French ultramarine or cobalt blue.
ors only as suggestions. For this reason, When painting the dark areas under trees in the distance,
I’m usually glad to have my plein air I keep these areas more on the blue side, but for the very
study nearby for reference. darkest areas, perhaps in tree shadows that are nearer to the
In nature, most greens are much foreground, I add some burnt sienna to my shadow mixture.
grayer than the pigments that come Warm darks read as darker than cool, bluer darks.
directly from paint tubes. Tube greens
and blues are often too saturated to
represent the grayed-down hues of the Recommendations
landscape. In order to more closely imi- Take care when zooming in on your computer monitor when
tate nature, I typically mix my tube viewing distant layers of the landscape. When I zoom in, I tend

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plein air painting With Watercolor

demonstration continued

Step 3 continued
next page

➥
While making sure each wash was completely dry before adding the next, I continued to
define details in the trees and grass with a size 2 round sable brush.

to get hung up in the details, but with a distant object, such

About as a mountain or stand of trees, not much detail is needed.
the Sometimes I zoom in but then squint at the screen to simplify
Artist the shapes and values.
Avoid fixing your gaze on your reference while you paint at
Lori Woodward the same time. Sometimes I catch myself looking at the screen
holds a Bachelor of Art or photo while mindlessly moving my brush around. This is dan-
Education from the gerous because I’m not watching where I’m applying the paint.
University of Arizona. She A better sequence is to first study the reference, make a deci-
has studied extensively
with Sondra Freckelton,
sion as to how to depict that area, mix the color, and then apply
Richard Schmid, and Nan- the paint while looking only at the paper. We really can’t do two
cy Guzik, and has written things very well at once. First look, make a decision, then paint.
for Watercolor since If you’re new to drawing or painting, don’t try to combine ele-
2007, and co-authored ments from different photos. This is not a rule, but a suggestion.
the book: Watercolor,
Step By Step, by Walter
When I attempt to combine parts from different photos, I often
Foster Publishing. For get the perspective wrong, or else I have to deal with conflicting
more information, visit color schemes. I prefer to use one photograph as my main refer-
http://loriwords.com. ence to bring clarity to the composition.

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demonstration continued
Step 4 4
Here I followed the same
procedure to define the trees
and grasses on the right side
of the painting. I defined
the tree trunks and limbs by
first drawing them with an
HB graphite pencil. Then I
followed by painting around
these drawn-in shapes with a
mixture of viridian and burnt
umber.
For the limbs and branches
on the dark pines, I scored
the paper with the pointed
opposite end of my brush and
immediately glazed over the
area with the same mixture
of viridian and burnt umber.
When the paper is indented
in this way, the paint rushes
into the valley of the dent,
making it look much darker.
This is an easy way to define
small linear details without
actually painting them.

Step 5 5
I first added details on the
distant mountain using my
round size 2 kolinsky brush
and a light, watery mixture
of French ultramarine and
burnt umber. When that wash
was completely dry, I mixed
a puddle of Chinese white
on my palette using a lot of
water. I applied a glaze of
this opaque mixture over the
distant mountain and most
distant stand of trees that lie
just below the mountain. This
is an easy way to push back
the far layers of the landscape
and create atmospheric
perspective.
Because I can use this
technique of opaque paint if
I need to, I don’t worry about
how dark I make the distant
elements of the landscape. If
I need to downplay details or
value even further, I can add
successive glazes until I’m
The completed painting:
Duck Pond, Acadia
satisfied with the resulting 2009, watercolor, 10 x 15. Collection the artist.
veil of atmosphere.

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