Founded in 2002, the Society encourages the creation of watercolor at all skill levels and promotes interest, appreciation and enjoyment of watercolor and watermedia. Please feel free to attend one of our meetings. Monthly meetings are held on the first Wednesday of every month, at 10 a.m. at the Cincinnati Art Club, 1021 Parkside Place, Cincinnati, Ohio, unless otherwise noted.
How long have you been a member of the GCWS and why did you
I have been a member of the GCWS for two months. I joined because I recently retired from
government service in Washington D.C and moved to the Cincinnati area. I used to teach art and thought it would be
fun to reengage in the art community. I truly have a passion for painting.
Going For The Gold
What are some of your artistic achievements?
My work is included in several prominent collections
including Whirlpool Corporation, Marion Power Shovel, Wyandot Popcorn, the
Cellar Memorial Art Gallery, the Law offices of Brent Harraman and former
Manager of the New York Yankees, Billy Martin. I won “Best of Show for my
painting “The Family Tree” from the Marion Juried Fine Arts Festival. I have received
rewards and recognition in various juried art shows in the Central Ohio area. Currently I am working on private commissions and preparing a
body of work for my upcoming show in Middletown, Ohio.
Describe your usual procedures for creating a painting.
My work is a response to and an exploration of the vibrant
multicultural experiences from my youth.
I grew up on the South side of Cleveland, Ohio at a time when everyone
lived in ethnic neighborhoods. The
beauty and excitement of the diversity I witnessed infuse its energy into all
of my expressions as an artist.
These impressions from my childhood find me consistently
searching for variety and color in every corner of my life.Reflections of these moments are at the core
of my work.
I use watercolors as the primary pathway to connect my inner
life and experiences with the outer world; they provide a fluid medium that
always surprises and delights during the creative process.I don’t feel bound by convention and use
multiple techniques and experimentation; even occasionally cutting into the
surface of the paper.I allow the looser
nature of the paints to provide enhancement or counterbalance to the tighter
elements of the work.I love to layer
the colors so that their luminescent character shines through while still
allowing the viewer to see and feel the brushwork.
While working, I am engrossed in the process.Every brushstroke is a decision, a
counterstroke, a correction or enhancement, or the start of a new visual
pathway.I want the viewer to join me on
a journey to see not only what I see, but to discover some visual elements that
bridge an emotional resonance with the piece.
How long have you been painting?
I have been painting
all of my life. I painted professionally
for approximately 15 years, before going to work for the Federal
Government. I took a 28 year hiatus and
have re-emerged two months ago to pursue a professional career while feeding my
passion to paint and create.
In what medium, other than watercolor or acrylic, do you
Pen and Ink.
Where do you get your inspiration for paintings?
People, places and things. Inspiration is everywhere.
Are you a teacher?
Yes. I taught art professionally for 17 years.
Where do you see yourself in the future? (i.e., is
painting a hobby; will you enter shows; do you see yourself teaching?)
I want to be in professional shows and organizations. Ultimately I would like to see my works in
institutions, galleries, museums, and collections.
Claudia Taylor, Program Chair, introduced Nancy Neville, our
presenter for this month. She is from Cincinnati, and studied at U.C. Nancy
loves watercolor, but also paints in oils. She gives classes at the “Barn” on
Mondays. She and her husband, Bruce, also an artist, travel to Michigan often
to paint. One day she picks the place where they will do their “plein aire”,
and next day, it is his turn. They like the spontaneity. Nancy usually uses an
Arches “block” for outdoor or in-class painting, as they are easier to handle
in these circumstances. She told of some interesting differences in how a
female artist and a male artist work (in general). Females can usually paint a
bit, throw in a load of laundry, paint, answer the phone, paint, and put away
the dishes - and usually male artists concentrate completely on doing their
Early on in the history of GCWS, Marilyn Bishop, president
at the time, asked Nancy to be a presenter. Nancy was so proud of herself that
she was able to say no - as she was extremely busy at the time. However, four
days later, she was at an event with Joan Miley - who preceded to “coerce” her
into the doing the workshop. Nancy also was “roped in” to teach at the Barn
years ago - “just for 5 weeks” as their resident artist would be out. She has
been there ever since.
As Nancy started, she said “It’s all about the Whites”. She
believes that negative spaces are very important, and tries to leave quite a
few in each painting. An artist wants the audience’s eye to rotate around the
painting. This can be done by having “balance” in the painting, especially
having some of each color in more than one place.
After one picks the subject that is to be painted, “forget”
what it is, and just paint the “Shapes”. She likes to have the paints mix on
the paper. She said everything doesn’t have to be totally defined. Have more
detail at the edges; the mind fills in the rest. Look for “common lines” - that
is, places where two shapes come together and are the same height or same
direction. Change one of the shapes so they are different.
She puts out fresh paint almost every time, and doesn’t
usually use masking. As we watched Nance paint, it was interesting to note that
she holds the brush far away from the bristles, saying that it gives you a much
lighter, looser, touch, using your whole arm. She used to always stand to
paint, but now sits more often. Be sure to walk away from your painting from
time to see it from a distance.
Nancy starts with the “lights”, but establishes her darkest
dark fairly early on. Allow things to happen on the paper; this is the fun of
watercolor! She says that watercolor is the hardest medium to work in - but it
also has the most “sparkle” and “interest”. She usually paints wet on dry, but
sometimes adds more paint before the first is dry.
Some important points that Nancy wanted us to take away:
Limit mixing of paints on palette; let them mix on paper. After getting a good
start, put your photo away and let painting guide you. Be sure to have hard
edges and soft edges. Do not overwork. Slow down and take your time doing your
Nancy told us that she first practiced “teaching” to her
Water Spaniel. It must have worked, because she was certainly very capable of
painting and teaching at the same time. Everyone enjoyed watching the beautiful
“dreaded basket” (inside joke) with bittersweet branches, be created right
before our eyes.
After the presentation, Nancy did some Critiques for members
who brought in their almost finished paintings. All members are welcome to
bring in a painting for Critique.
A "show and tell" painting from the Guy Magallanes workshop
Submitted by Joyce Grothaus, GCWS Secretary, November, 2016
President Kathy Lang called the meeting to order. With the
beautiful November day, we had a good turnout of members. Kathy told us that
today’s presenter had donated a small painting to the club so that we could
sell raffle chances to increase our Treasury. As it turns out, somebody pulled
out Kathy’s name as the winner of the painting. (We all think it was rigged!).
:) :) :) There was a small number of people who indicated that they were
staying after the meeting for Open Studio. All members are welcome to
participate, and pizza is served for lunch.
A guest was welcomed - Myrna Twitty, who has been taking
lessons at Baker Hunt. We hope that Myrna will join the group, loving
watercolor like we do. Pat Deis-Gleeson who joined us for the Oct. workshop,
has become a member. Welcome, Pat.
Carol Fencl, Treasurer, gave her report. In October, we
spent more money than we took in, but does not include the money from the
Workshop; our finances are sound.
Lydia Rittinger, Membership, said we have one new member,
Pat, and one returning member, Howard Krauss.
Some of the folks that attended the GCWS Workshop gave
glowing reports of the weekend, stating how much they had learned, and how much
fun we had, - and how much we all ate! Dianna Duncan, Chair of this event, did
a marvelous job, had everything well planned and well prepared, and contributed
more than we know to the success of the Workshop. Guy Magellanes did a great
job, giving good directions, and working hard to make sure he gave everyone
personal help and attention. It was absolutely fascinating to see how different
all the paintings turned out. He also sent a step-by-step instruction to
workshop participants’ emails, through Drop-Box.
We will need a new Workshop Chair next year, as Dianna is
stepping down. A huge Thank-You to Dianna for chairing this event for the last
Remember to sign out and sign in any DVDs that you borrow
from the club. All members are encouraged to try some of them; they’re very
Howard Krauss - will have paintings displayed at “Memories
of Oxford”, on Dec. 9, at the Oxford Community Art Center, 10 S. College St.,
Oxford, OH 45056.
Judy Reed - Queen City Art Club is presenting w/c by Roger
Ross at Saxby’s Coffee Montgomery. Reception Nov. 12, 2016; meet the artist;
exhibit until Jan. 15, 2017. 9321 Montgomery Rd.
Diana Marra - Middletown Art Center; “The Orient -
Expressed”; Meet Artist Nov 17, 6-8; Exhibit Nov. 17 - Jan. 19, 2017,
For December, we will have a small meeting, and a big Party!
Each member is asked to bring your favorite hors d’ouvres or snack to share. We
will have some games or activities, and a white elephant sale. See details in
the Dec. postcard.
Submitted by Joyce Grothaus, GCWS Secretary, November 2016