If you thought you knew watercolor, think again. Wendy Artin’s fall masterclass reveals the subtle techniques and processes that set master painters apart, and once you learn them, there’s no turning back.
Wendy Artin's recent workshop at the Art Students League was no ordinary class; it was a masterclass in watercolor tailored for intermediate to advanced artists. The room was packed with 26 eager participants, yet no one seemed to feel shortchanged by the space or attention. Artin's approach to teaching made the experience feel personal and interactive, with each artist getting individualized feedback. This structure provided the ideal balance of brief explanation, observation, and hands-on practice. I had the distinct disadvantage of having missed one of the two days, but I working with a fellow attendee to reconstitute what I missed. Here's my take.
Watercolor on Arches Cold Press by Charles Merritt Houghton, 2024
Why a Workshop? Interactive Learning in Action
Artin's teaching style made the workshop highly engaging. She started with a concise lecture, explaining her core techniques and principles while showcasing painted examples of her work. This wasn't a long, drawn-out discussion—she was direct, focusing on key takeaways that would inform the rest of the day's work. After the lecture, it was time for the students to paint.
Throughout the painting sessions, Artin circled the room, observing each student's work and pointing out subtle elements that might have been missed during her explanation. This iterative learning process allowed participants to see her demonstration, attempt the techniques themselves, and receive real-time feedback, ensuring no one misunderstood.
Artin's Approach to Materials: Simplicity and Flexibility
One of the most significant lessons from Artin's workshop was her pragmatic approach to materials. She emphasized that you don't always need the best materials for preliminary studies:
For Studies: Artin encouraged using cheap paper, particularly for initial sketches and quick studies. This freed artists from the fear of making mistakes, fostering an environment where experimentation was not just allowed, but actively encouraged, inspiring a sense of creativity and freedom.
For Finals: She stressed the importance of investing in high-quality paper and brushes for final pieces. A flat brush played a crucial role in her work, particularly in blending and lifting techniques. Artin's brush choices, especially Escoda's artificial sable, allowed for precision, flexibility, and the ability to easily switch between broad washes and fine details.
As most watercolorists quickly find, the paper matters. Beginners shouldn't max out their credit card to get the best paper. Eventually, you will realize that certain watercolor papers fight you every step of the way; usually the cheap ones. Some absorb too quickly, some absorb too slowly, some buckle immediately, and some seem to require the same investment as your local Ferrari dealership. Balance your level of expertise with your wallet. Eventually, you must embrace an excellent paper. Before then, get some mileage by painting hundreds of artworks. The experience pays off.
Her paints were also thoughtfully selected—she leaned on reliable, vibrant pigments such as Winsor Blue and Permanent Rose. She regularly worked with colors like Cobalt Blue, Perylene Violet, and Ivory Black for shadow work. She cautioned against certain pigments, noting that some, like Winsor Blue, could be overly staining if applied carelessly.
Artin's Process: The Power of Studies and Finals
Wendy Artin firmly believes in the value of doing multiple studies before committing to a final painting. "Don't spend too much time on your first painting," she advised, emphasizing the importance of sketching, experimenting, and getting to know the subject. Each iteration deepens the artist's understanding, making the final work more refined and confident.Her method encourages doing multiple finals of the same subject, each bringing novel solutions. She demonstrated how approaching the same topic from different perspectives and with various color schemes can yield completely fresh results. This approach underscores her belief in watercolor as an evolving process, not a static one.
She didn’t spend any time discussing composition for the day I attended. On Day One, she encouraged painters to draw a frame onto their page and then arrange their subjects until connected with two sides of that frame. As a painter, I interpret her approach toward preliminary studies as a means of "forcing" the artist to subtly and intentionally build up compositional understanding and confidence. This approach actively compels artists to see with a slow and discerning eye and then practice and, thus, internalize the compositional choices. When it’s finally time to paint on good paper, you’ve built up some physical and visual memory regarding the subject and its arrangement on the page.
Her approach front-loads the compositional choices, making your painting process fluid and intuitive. It’s a sneaky way to get artists to pre-think and pre-train for a final painting. It prevents overworking and overintellectualizing the act of painting. Artin’s rapid wet-on-wet process means overthinking will kill your painting. Her flow requires speed to succeed.
Breaking Down Wet-on-Wet: Her Signature Technique
According to Artin, wet-on-wet is a signature technique many artists struggle to grasp fully. Her step-by-step process was a highlight of the workshop, and she stressed that getting this technique right requires more than just intuition—it requires precision and understanding.
She asks attendees to prioritize what they see and refrain from putting in lines, forms, and shapes that aren’t present in the still life. Fabricating detail seemed very “off limits” in her approach.
Artin's Wet-on-Wet Process Breakdown:
Wet the entire page: The first step is to thoroughly wet the page, perhaps tilting it slightly to control how the water moves. This sets the foundation for soft blends and diffused edges.
Add pink: Apply your first color (in this case, pink) and distribute it while the page is still wet. I’m not saying she always adds pink, or you should, only that she did.
Address shadows: Immediately block in the shadows, defining the essential shapes. Ask yourself, "What is this painting missing? What needs to be added to make it accurate?" Artin's approach emphasizes seeing and capturing the subject directly.
Work into the shadows: On complex subjects, like the torn fig she demonstrated, Artin spent time on the dark shadow lines, working hard to represent them accurately.
Tackle the bold center colors: She then moved to the center, applying bold colors for the fig's red flesh, pushing and pulling at the paint to get the correct depth.
Lifting sharp light areas: As the paper begins to dry, she uses a partially dry brush to lift paint and sharpen light areas—this is especially important for capturing the fine details and texture.
Sectioning larger works: When tackling larger or more complex subjects, Artin sometimes works in sections to prevent areas from drying too quickly. This approach requires careful planning. She disdains using a spray to keep the paper wet, as it introduces another element of unpredictability to the process. Her approach is meant to minimize the accrual of chaos in the process. Eliminate all possible sources of ambiguity. This reduces the cognitive and technical load the artist must bear.
The importance of timing: Diffusion in wet-on-wet comes from getting the shadows in early. As the paper dries, sharper lines become possible, creating a satisfying contrast between soft and hard edges.
Never revisit dry paint: Once an area has dried, Artin avoids reworking it. She aims to complete each painting in one session, maintaining its energy and freshness. Her straightforward, deliberate method made it easier for students to understand the how and why of wet-on-wet. This technique requires understanding the relationship between water and pigment, and her demonstrations clarified the often elusive balance between the two. She doesn’t announce this as a “rule” but has refined her process to eliminate the need.
The Masterclass Experience: Artin as an Exceptional Teacher
The atmosphere in the workshop felt more like a masterclass than a typical session. With 26 participants, the room was tight, but no one seemed to mind. Most of the artists were returning students, and the quality of work produced in the class was a testament to their experience and her ability to elevate their skills.
Throughout the workshop, Artin gave personal attention to each artist. She didn't just teach; she coached, observing what each artist missed and guiding them toward better execution. Her ability to dissect what was happening on the paper and give meaningful feedback sets her apart as both a painter and a teacher.
Strawberry On Arches Cold Press paper by Charles Merritt Houghton, 2024
Final Thoughts
Wendy Artin's workshop was a masterwork in communicating watercolor techniques and her artistic approach. Her approach to paint and paper, emphasis on preparatory studies, and signature wet-on-wet technique offered participants a clear roadmap for improving their watercolor skills. The work produced in the workshop—by returning students and seasoned artists—was nothing short of excellent, and everyone left with a deeper understanding of how to balance control with spontaneity in watercolor.
Artin's ability to communicate complex concepts in a digestible, direct manner made the workshop an inspiring and practical experience for all involved. It wasn't just a class but an exploration of watercolor's full potential.
Charles Merritt Houghton
5 September 2024
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