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.
Thursday, September 13, 2018
PROGRAM - SEPTEMBER 2018 - DEBBIE CANNATELLA
Tom Schroeder introduced our artist and guest speaker for
September, Debbie Cannatella. Debbie has painted full-time since 2005 when she
retired as a highway and bridge designer.
She has opened two galleries in Texas, both are operating
successfully, has served on the Board of Directors of local Art organizations
in numerous states, and has enjoyed traveling, jurying and judging exhibitions,
painting and teaching classes and workshops in transparent watercolor.
She is published in Artistic
Touch 4; the Best of Watercolor, the Artist
Magazine, Iris Magazine, the 2015 edition of Splash 16: Exploring Texture, and the 2016 edition of Art Journey Animals: A Collection of
Inspiring Contemporary Masterworks, by Northlight Books. Previously, her
work was selected for the 2010 Pennington National Balloon Championship poster,
and was the featured October 2010 artist in Brush, Paper, Water.She is a signature member of the Louisiana
Watercolor Society, Artist of Texas, and a member of AWS, NWS, KWS, Women's Art
Club of Cincinnati, the past president of the WSST, and the Kentucky
Representative for the Southern Watercolor Society. This year she is included
in the Third Annual Contemporary Exhibition at Palazzo Franchi in Assisi, Italy
in collaboration with PRO VOBIS Art Residence. Debbie currently lives in Union
KY with her husband and two rescue animals and has begun to hold workshops in
Debbie's background working in bridge and highway designs
influenced her progression in watercolor. Her natural style is detailed and
bold, and also uses the wet in wet techniques. We were encouraged to find our
own style, loose or detailed, and to paint what we love.She enjoys doing series of paintings, such as
flowers, birds, koi ponds, and people.
Her demonstration began by wetting 260 lb Arches paper, 26 x
40. The whole dry sheet is torn in half and placed on a masonite panel.The panel is smooth white on one side and
unfinished plywood hardboard on the other. The paper is soaked several times
using a wide brush,not taping the paper
Her subject for this demonstration was koi fish. She used
photos from the internet that were only used as anatomy references and shape
references, and not copied into the painting. It is important to be careful not
to combine side pictures of fish with straight down pictures of fish. Generous
amounts of paints are mixed to the consistency of a little thicker than whole
milk. Most yellows and all reds are staining. The majority of her paints are
Windsor Newton and Daniel Smith, but uses a few other brands. The entire first
layer of color must be non-staining, such as the Indian Yellow by Paul Jackson.
This is done to be able to later lift out shapes needed. Staining pigments can
go on top.Opaque colors were used in conjunction
with transparent. Some of the colors used were Windsor yellow, carmine red,
ultramarine blue, Horizon Blue by Holbein, and eventuallyPhthalo blue and Indigo. Generous amounts of
paint are put on paper and allowed to flow around after each color is added.
The background tells you where to start and let it morph from there. Lift the
yellow and reds while wet, blues can be "dryer", not necessarily dry,
though one can still lift ultramarine and indigo when dry. Synthetic flat
brushes,1/4 inch, were used to start lifting fish in the small areas.
other areas were lifted using the larger brushes in the Silver series.
Constantly wet and dry brush on a towel. When details of fish are added, the
paper must be bone dry. She emphasizedthat the movement of composition needs to be coming into the painting,
and not out.
Remember to put darkest dark against lightest lights in the
focal area.After removing paints in
shape of koi, eyes and fin area were lifted. Detailing of fish is done on the
dry paper. Debbie will finish this painting later and bring it in for us to see
Debbie showed us a koi painting previously completed.
The following is her way of flattening a large watercolor
painting, written by Debbie Cannatella.
Use 2 clean masonite panels, which are smooth white on one
side and unfinished plywood hardboard on the other. The panels need to be
several inches larger than your painting.
Home Depot calls them Eucalyptus White Hardboard, and Lowes
calls them White Hardboard Wall Panel.One
side is wood and the other is waterproof. One 4'x8' sheet ($10-15) can be cut
down at the store to create 4-24"x36" sheets (for full size sheet),
and 3-15"x24". (for half-sheet paper).
Lay the panels next to one another, one panel white side up
and the other panel unfinished side up.
Turn your completed painting over on top of the CLEAN white waterproof
surface of the hardboard panel, and using a sponge or a large brush, completely
saturate the back of your painting. Do
not flood it with water so that water leaks underneath to the front of your
painting, merely saturate it well, brushing the water into the paper. Allow it to absorb a few minutes, and go back
over it with another layer of water. You want the painting completely damp on
one side, all the way to the edges.
Turn the painting over, wet side down on top of the wooden
side of the other panel.The unfinished
wooden side of the panel will help draw the moisture out of the back side of
your painting.Lift the edges and
position it straight.MAKE SURE THERE
ARE NO WRINKLES OR BUBBLES.
Completely dry the white side of the first panel and lay it,
white side down, on top of your painting.The waterproof side must be against the painting
At this point you can weight the "sandwiched"
painting down with anything heavy-a case of watercolor paper, books, etc.Leave for a few days before unpacking
it.It should be dried completely
flat.There may be a light tan haze on
the backside of the paper where the hardboard drew the water out, but that's OK.