ArtistsNetwork.com 23illustrators from that era—Dean
Cornwell (American, 1892–1960) and
J. C. Leyendecker (German-American,
1874–1951)—for vignette inspiration.
By designing with a vignette com-
position in mind, I’m ensured that
I won’t get too locked in or distracted
by elements of the background and
foreground. I’m able to focus on the
movement of the subject and can
exploit the use of diff erent types
of edges for the desired eff ect.
Quite often, as watercolorists,
when we approach full-on paintings,
we tighten up and get stiff , placing
too much importance on creating
a fi nished work, losing the mind-set
and looseness of the original sketch—
and the opportunity to take advantage
of watercolor’s natural fl uidity. It’s
easy to either get locked in to simply
coloring in our drawings or fall into
using accepted watercolor “tricks”
and forget that we’re actually painting.
All of my paintings are basically
done in a three-wash process—
background, foreground and middle
ground—moving from large shapes
to small shapes from the use of larger
brushes to smaller brushes. Th is keeps
the painting from becoming over-
worked, retaining the freshness and
vitality of the sketch.
Consider the use of design, color,
line and edges to create paintings
that actually look like paintings—
and that feature loose, expressive
watercolor that revs up the movement.
LEFT
Although the fi gure is still, poised for his turn
to race, the gesture of the sketch and the
unfi nished vignette keep Heading Into 2018
(watercolor on paper, 15x10) from feeling
boring. I’ve left parts of the front tire unfi nished
and added some “noise.” The gesture of the
body position indicates that within seconds,
the rider will be placing his right hand on the
throttle, ready for his chance at victory.
BELOW
Rev ’em Up (plein air watercolor sketch
on paper, 10x15) was done on location, focused
on the men in the car and the shape of the body
more than anything else. The gesture of the
driver lurching back into the seat as the clutch
pops, throwing the hot rod in gear, is key.
Nothing beats sketching in the thick of the
racing pit, smelling the gasoline and motor oil.
Try using all fi ve of your senses to inspire and
inform your work.
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