66 Watercolor artist | APRIL 2020
Bright Ideas
pigments mix more within the actual
fi bers of the paper instead of just
on the surface, resulting in gentler
blends and an overall softer feel.”WHICH MATTERS MOST?
Both artists commented on which
of these materials matters most to a
watercolorist. “Paper,” says Tanabe.
“Poor quality paper presents too many
problems. It doesn’t do other materials
justice. It deters the artist’s progress
and even discourages some beginners.”
Schaller agrees. “In watercolor, so
few materials are needed that all need
to be chosen wisely,” he says. “But I
always tell my groups that if you have
to spend money on only one thing, a
good quality paper would be that one
thing. Even the best brushes and pig-
ments you can buy are no match for
an inferior painting surface.” WACourtney Jordan is a freelance fi ne
arts writer who makes her home in
New York City.KEEPING
IT FRESH
“For me, it’s absolutely
necessary to mix things
up now and then,” says
Schaller. “In my
paintings, the materials
aren’t as important as
are the ideas and the
expression—the
interpretation—of those
ideas. So a new brush,
paper or pigment can
act as a catalyst for me
to stumble upon a new
idea or a new way to
express that idea. And,
new ideas—or new ways
of looking at old ideas—
are key, not only to my
painting but in how
I try to live my life.”RIGHT
Schaller paints
Floating City
(watercolor on paper,
30x20) in Burano,
Italy. The work was
shortlisted for the 1st
Universal Watercolor
Exposition, Shanghai.BELOW
A former architect,
Schaller says drawing
is critical to his
practice, whether he’s
working on site or in
his California studio.