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WATER COLOR UNITED STATES
MASTER PAINTERS OF THE WORLD
Chris Beck
All in the details
lthough I studied watercolor in college, and still enjoy trying experimental the challenges of creating a complex painting
Athere was little encouragement of approaches on occasion, but over the past with watercolor: the planning is not unlike
realistic work in the program. Years later, eight years, my work has focused mainly working a puzzle that has to be assembled in
when I started painting again, I stumbled on vintage saltshakers and tin toys. is a certain way in order to be successful.
around for about 18 months, trying various comment from a juror—“whimsical yet I almost always start with masking uid
approaches. en one day, I created a clear, sophisticated”—sums up how I’d hope to protect highlights—as well as elements
precise, realistic painting and realized I’d people would see my work. surrounded by a di erent color—so I can
found my “voice.” I love crisp edges, intense color and an paint freely across an area, mixing colors to
I’ve moved between orals and still lifes abundance of detail. And I de nitely enjoy create volume in my subjects. I use multiple
washes to add intensity and re ne
color, while paying attention to the
value structure of my painting and
checking that objects occupy space
realistically. When the larger areas
are complete, I remove the masking
and begin the process of bringing
the painting to life—adding details,
lifting out highlights and touching
up small mistakes. I nish by
making minor adjustments to
color if necessary.
A Shocking Discovery, watercolor,
12 x 12" (30 x 30 cm)
This painting was my response
to a challenge from sculptor Steve
Worthington, who created the bronze
mouse. I used Arnold Lobel’s wonderful
children’s book Mouse Soup as the
foundation for my still life and stacked
up books meaningful to my life in order
to put the mouse in the right position.
Arranging the books in a fanlike series
of steps helps lead the eye around
the composition and using a point of
view with the main titles upside down
adds a bit of intrigue. I used masking
fluid, both wet-in-wet and wet-on-dry
painting, and drybrush techniques to
bring it to life.
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