24 Watercolor artist | OCTOBER 2019
himself often returning to particular
situations. “I’m content to set up
my easel along the edge of a body of
water,” he says. “Lakes, streams and
oceans are all among my favorite
things to paint. I’m happiest on an
old weathered dock or pier overlook-
ing a marina fi lled with boats.”Moving From Outdoors
to the Studio
Th e evolution of Popadics’ studio
paintings begins outdoors. “I spend
an hour or two painting on location,”
he says, “but after that the light
changes. I get down as much informa-
tion in my watercolor sketch as“Watercolor brings a feeling of air, spontaneity and joy to my
landscapes. When a watercolor is done well, there’s a freshness
about it that radiates light and atmosphere.”
ABOVE
Belfast Refl ections
(watercolor on
paper, 14x20)RIGHT
Pilings in the Harbor
(watercolor on
paper, 22x28)possible. Many plein air painters fi nish up what they do
on location, put it in a frame and show it. I do that, too,
but I prefer to hold on to my outdoor work, especially
if it’s from a place where I might not return—perhaps
a once-in-a-lifetime trip. And then sometimes I go out-
side just to paint for practice.”
Th e artist works up his fi nished watercolors based on
these plein air sketches. “I’ve accumulated a rather
large stack of sketches over the years,” he says. “I use
them as references for skies, trees, boats and other sub-
jects in my paintings.”
In his studio, Popadics begins a painting by selecting
a watercolor sketch done on location as the basis for
the larger work. “I then work up a few small thumbnail
sketches,” he says. “After I decide on a particular
thumbnail, I’ll do a 5x7-inch pencil drawing where
I work out my composition. From this pencil sketch,