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Artworkbook:Watercolor Painting 1

The ArtWorkBook Series:

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Volume V: Notes on Painting in Watercolor

Joan Maresh-Hansen

HeArtWorks Publishing Company
Copyright © all rights reserved,
Revision of 1990 publication: January 2006

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Introduction to the ArtWorkBook Series
As art educators, we are clear of the value and opportunity that the study of art provides to people.
The incentive to express ourselves fully presents itself rarely if ever in other arenas in the educational
process. Our challenge continues as art educators to be one of providing art students with an environment
offering them opportunities for growth and experimentation. At the same time we intend that they are
building their level of skills in the use of various techniques and media that we teach year after year. The
intention of the ArtworkBook series is first to share with you the many ways in which the concepts and
media can be introduced and explored, and secondly to provide both students and teachers with a tool toward
sharing an understanding of art in all of the aspects.

The more freedom that we give within the boundaries the more we tap into that resource of creativity.
Custom made teaching materials have been created for your use. My commitment lies in having teachers free
of the mounds of paperwork in order to be free to teach while at the same time providing clarity for the art
student. By having every thing available to present a clear concise lesson the teacher will be more accessible
to the art students. Whenever a question, concern, or new ideas come up for discussions, it can be enjoyed
and shared to increase the level of excitement and fun in the making of art.

With more quality time for interaction, the results could be more successful in whatever process is
involved. The positive reinforcement allows students to see their greatness and be more confident in wanting
to find their niche in life, to give back to the world whatever talents they possess in order to make their
contribution. You as a teacher will have time to get in touch with the greatness inside each of your students.
With quality time available, you and your students can discuss the possibility that the practice of art as a
livelihood can lead to future-life time commitments. We as teachers do have the ability to alter lives. Th e
student could actually see your commitment to their growth and development, as an acknowledgement to
support the way they would like to make their own unique and individual contribution to the world.

The ArtWork Book has grown out of the many years of teaching and fulfilling needs of my students
and of my own to assist in presenting new materials in such a way that clarity is achieved and we can get on
with the business of making art. The size of the publication is so expanded that it has become necessary to
present the

material by volumes. Each volume available in e-books or in print-on-demand covers a specific area of
material in building or maintaining a strong four-year art program. In addition there are hundreds of ideas for
projects that have been accumulated from the numerous interactions and relationships with committed art
educators from around the state and nation who have been generous enough to share innovative ideas through
books they have written or through presentations. The revised ArtWorkBook volumes include; The
Teacher's Almanac, Art Class Notes, Art Careers:Living The Life You Love, Art TestPack, Drawing, Design,
Notes on Painting ( Watercolor, Oils and Acrylic),Printmaking, Crafts, and Sculpture, Portfolio Preparation.
The latest upcoming addition is a book about teaching art on the computer called,
The DigitalDesignBook. The revisions were inspired by a survey taken among educators at the Texas Art
Education Association Çonference. Note the different versions of the same e-book. The newly launched
virtual artroom on the website @ www.artworkontheweb.com has student art work and many other resources,
constantly updated so visit often. If you like what you see tell others about it.

Whether you are a first year art educator or are a seasoned art instructor with many years of teaching
experience , it is my intention to have the joy of teaching art be a possibility that is present every day. Take
the time to enjoy your art students in observing the full expression of themselves. With more time on your
hands it is even possible to practice a little more of what you preach in the making of your art.

Hopefully you will benefit in the material provided in this series. It is my
intention to assist in having teaching be the joyful, and free of stress-filled struggles in lesson preparations.

Let me hear from you if you have questions to ask , insights to share, or suggestions on how to do
things more effectively. I look forward to hearing from you. For scheduling workshops or a speaking
engagement —contact me by e-mail at:
artworko@artworkontheweb.com or my home email at: jmareshonimac@mac.com
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Thanks for your support and for all you do for art education..

Joan Mares h-Hansen ,The ArtWorkBook,

Art, Electronic Media, AP,Studio Art, Life Coach
111 Main Street ,Sugar Land,Texas,77478 281-494-2678

COPYRIGHT, Joan Maresh-Hansen ,2006. All rights reserved.

No part of this publication may be reproduced, transmitted, transcribed, or translated into any
language in any form without permission of author.

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Many Special Thanks!
Reflecting upon my teaching life stirs up deep feelings which can best be described as an attitude
of gratitude. My life has been laced with incredible interactions among young people in their creative
endeavors while making art. Young people can be wonderful creatures. My first round of thanks go to my
students each day, each year for more than three decades. The joy from having watched these people
grow into young adults is priceless. This revised edition of work done is indicative of engaged learners.

These former students are fulfilling their dreams in many walks of life and have contacted me to
express their appreciation. Each time I hear from them it is a gift. Thanks you for letting me know. They
include art educators: Kelly Muncy, Marilyn McCord, Paul Briggs, a Walt Disney animator, Viet Pham
an architect, and brother Vu Pham, Karen Tan, a children’s book illustrator, Sheri Boyd, a children’s
clothing designer. Other former students Pam and Jenny Griffin, Ryan Ottea, William Soo, Christian
Alfonso, all of these former students who continue to let me know how significant our time together was
are very much appreciated. A heartfelt thanks to these and other of my students who continue to make
me very proud of their accomplishments. A special thanks to my last bunch of seniors at Carver High
School for their remarkable talents, our time together was incredible, they include: Brad Conklin, Hannah
Casille, Rebecca Ramirez, Tina Trang, Lauren Neilson, Barbara Keirwicz, Jessica Donalson and Chelsea
Coronado.
Another group of people for which I am grateful are my colleagues who were constant in their concern for
our students and colleagues. The partnerships and the memories with many dedicated professionals
stretches across the miles in school rooms in my present and previous districts where I worked, as well as
many schools across the nation.

My first twenty four years were spent in my alma mata, John Foster Dulles High School, among
individuals who helped me survive those first years while developing my class room management
strategies. Thanks Dulles family and friends who made teaching such a rich experience Sandra Mansfield,
Pam Harper, “Deedy” Karen Germany, Letita Burns, Maynette Davis, the late Bill Shaver, Weldon
Klaus, Christi Hooper, Barbara Scott, Judy Matney, Marilyn Munsterman, the late Marla Conley and
Brenda Baines and Charles L. Marshall, and many others. You taught me more than you will ever know
with such love.
At George Washington Carver High School, the art faculty was such a close knit bunch that I dearly loved
working alongside: Michael Conley, Dave Renner, Felicia Marshall, and Camille Jesse. It was fun creating
new opportunities for our kids.

My Critical Friends Group (CFG group) included incredible people: Mary Wright, Mary Braden,
Annie Harris, Kim James and Bryan Savant. Thank you Jodi Leckbee, the best borrowed little sister that I
ever had and Willie Pickens, thanks for your positive leadership.

A special thanks to those art educators in other schools and school districts who always provided
support when it was needed. Thank you to Jana A. Stiffel, my kindred spirit, Margo Thorn in Port
Lavaca ISD, Robert Parker in Bellville ISD, Lana Downes Awbrey, now in Dallas ISD, James Clarke ( my
former art coordinator), Gloria McCoy, Spring Branch ISD’s art coordinator, Sara Chapman in Alief ISD,
Sherry Yazman in San Francisco Unified School District, Sherry White in Clear Creek ISD, and many
others committed to the arts. A very special tribute to a person affectionately nicknamed,the grandmother
of art education, my hero, Janet Fox, who devoted her life to helping others create quality art programs.

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Special thanks to my life coach, Gary Glasscock who has supported me in more ways than can
be expressed here in this small space. Thanks for my friends in the Intenders Circle, and my mastermind
partners ( Evie, Mel,Malcolm, John and Todd) from Unseminar 4, and my OMG group ( Sandy, Steve
and Michelle). Thanks to my Eve’s Garden business partner Marla for allowing me to work on my
writing and my web sites while opening our beautiful bed and breakfast. To the love of my life and
handsome husband who brings me flowers and sets them beside my computer while I work long hours and
expresses his love for me in countless ways. My life is so very blessed and I am so grateful to God.
Goddess, All that is for all that is in my life and that which is coming. My life has been made richer for
having known and crossed paths with these individuals who care about others and express in their quality
art programs. Thank you.

May you have an infinitely blessed life,

Joan Maresh-Hansen
HeArtworks and Company Publishing
111 Main Street
Sugar Land, Texas 77478-3021
281-494-2678
jmh5@mac.com

http://www.artworkontheweb.com

http://www.myvirtualartroom.com
http://theartworkbook.com
http://artclassesinabox,com

http://www.evesgardentexas.com

Note: All web sites may not be fully functional as parts are under construction. Thanks in
advance for your patience.

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About the Author:

Joan Maresh-Hansen is a dynamic and entertaining speaker who has presented
for nearly three decades keeping her audience intrigued across the state and nation at
state (TAEA) and national (NAEA) conferences. She has always believed visual
saturation was imperative to getting her artistic point across. She has been invited to
present opening day staff development sessions in the following districts around her
great state of Texas:

Aldine, Alief, Brazosport, Birdsville, Colleyville, Conroe, Diboll, Ector County,Fort Bend, Houston,
Huntsville, Texarkanna Independent School Districts. She has provided programs for school districts
and regional education centers in other states which include;

Streamwood High School, Chicago Illinois
•

San Francisco Unified School District, San Francisco, California
•

Washington DC, New York,New York, Los Angelos, California and others
•

She provided the opening key note address to the:
• Washington State Art Education Association

She has authored many articles and publications.

Her publications include:
• Teachers Across Texas, West Publishing, 1990
• The ArtWorkBook, 1990
• The Teacher’s Almanac, 1990
• Discovering Art History: Classroom Connections, 1996
• School Arts Magazine,
o October 1996,
o August 2004,
o September 2004,
o October 2004,
o November 2004,
o December 2004,
o January 2005,
o February 2005,
o March 2005,
o April 2005,
o May 2005
• Digital Studio Projects, Glencoe,McGraw-Hill,ArtTalk 2005

She is available for speaking and consulting and may be contacted by email at the newly launched web
site: www.artworkontheweb.com

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She is a lifetime resident of Sugar Land, Texas now residing with her new husband (a singer, songwriter:
www.hansensongbook.com and www.Thefallguys.com ),and two beautiful cats: Phoebe and Beubaline.

She enjoys reading, writing, swimming, gardening, cooking, sewing, travel, and listening to her husband
sing.

She considers herself a serial re-arranger, a junker extraordinaire, and she has recently retired from thirty
four plus wonderful years of teaching art.

She now runs several successful home-based businesses.
For more information, go online:

Art Work on The Web: www.artworkontheweb.com
•

Eve’s Garden: www.evesgardentexas.com
•

“The Place Where Heaven & Earth Meet & Memories are Made”

A beautiful space for an intimate garden wedding, family holidays, small class reunions,

cultural celebrations, girlfriend get-a-ways and more.

406 Kenney Avenue, Brookshire Texas, Bookings 281-934-3569

Eve’s of El Campo: www.evesjunknstuff.com
•

Merchant Ave, El Campo, Texas 77347

For saving or making money on electricity. Go to: Ignite: PowerChic: www.powerchic1.igniteinc.biz
•

For creating wealth and prosperity: MoneyHoneys: www.Speakingoutloud.com and
•

www.reachingnewrealities.com

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The ArtWorkBook Series:
Notes on Watercolor Painting:
Volume V:
Table of Contents
Part I Introduction to Watercolor

10………………… Introduction to Watercolor
11………………… Watercolor Terminology
12………………… Watercolor, The Transparent Medium
13………………… Watercolor Techniques and Procedures
14………………… Watercolor Techniques with Unusual Tools and Materials
16 ………………… Watercolor in a Dozen Exercises
17………………… Resist-able Images
19………………… Fragmentation
20………………… Watercolor Intensity Painting
22………………… Wearing Your Watercolors

Part II Watercolor Worksheets,Tests and Answer Keys

25………………… Watercolor Vocabulary
26………………… Watercolor Worksheet
28………………… Watercolor Worksheet-Answer Key
30………………… Watercolor Test
33………………… Watercolor Test-Answer Key

Part III Watercolor Resources and Student samples
36………………… Student Gallery
37………………… The ArtWorkBook SURVEY For FREE gift
39………………… Pass It On-To Other Art Teachers and Home Schoolers
40………………… Notes to Myself
41………………… Notes to Myself

Pass- it-on: If you have enjoyed this e-book, tell others, as many as you like about it. You have
permission to send this e-book to anyone that you think would enjoy it as long as it stays in its entire
form including all contact information. Forward this to your district art coordinator as a GIFT to art
teachers across the district. I appreciate your assistance in getting the word out about my site and it’s
offerings. Thanks! Blessings, Joan Maresh-Hansen @ jmh5@mac.com

Joan Maresh-Hansen is the CEO of HeArtWorks and Company, and the founder of The Idea
Institutes. She is a dynamic and entertaining speaker. She can be contacted by responding on
the web site or by email. You can find out much, much more about what she is doing in her new
life beyond public school teaching in her virtual art room web site:
This e-book may be shared in its entirety, including contact information, freely.

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Introduction to Watercolor:
Watercolor has been explored by many cultures, the Chinese painted on rice paper, and
the Egyptians painted in watercolor on papyrus. Renaissance painters used watercolor
for sketches prior to more elaborate oil paintings. During the medieval times of the
illuminated manuscripts, watercolor was the medium of choice. English watercolorists of
the 18th century were recognized for their delicate use of this transparent media. William
Blake’s watercolor illustrations are shockingly imaginative and equally innovative is the
works of J. W. Turner. Turner was always experimenting, he blotted, mottled, and used
accidental approaches. French Impressionists utilized the colors of light responding to
the discoveries of their era. Before the turn of the century, Winslow Homer’s journalistic
illustrations along with John Singer Sargent’s watercolors matured into genuine
American art contributions. Investigate these artists and many others who worked a
lifetime using watercolor to interpret their world.

Edgar Degas said,” Only when he no longer knows what he is doing does the
painter do good things.” This could also ring true with people getting started in
watercolor. Sometimes the best part of watercolor can be the “happy accidents” that
happen unexpectedly giving results better than imagined. This kind of playful approach is
encouraged by tilting the paper to force the paint to run.

Here are a few hints for working with this very wet medium. It is best to work from light to
dark using transparent washes and building the darks in your pictures gradually. If the
colors are too dark, it is possible to wet and blot the page, therefore removing some of
the pigment. Try to move toward the darks gradually, always thinking before a stroke of
color is applied. Consider the results of mixed colors. If yellow is already down, an
application of red will create orange where the colors overlap. I like to think of watercolor
as overlays of transparent colors, like sheets of colored glass or colored cellophane.
Keep in mind there is no white in watercolor, so the page must be left white in areas
where white is the desire.

Good work habits are encouraged by asking students to mix paint with water on a
palette. Also avoid dipping a dirty brush into the clean pigment. Keep plenty of water on
hand and always rinse your brushes often. Two water containers are a good idea with
dirty water in one container and the other container holding your clean water.

Have fun, experiment, and investigate different techniques with varied approaches to
your subject matter. Landscapes, still lives, and portraiture, all can provide endless hours
of enjoyment leading to mastery of a very inexpensive and portable media that has been
used successfully by artists for centuries.

“In the brush doing what it’s doing,
it will stumble on what one couldn’t do by oneself.”
Robert Motherwell

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WATERCOLOR TERMINOLOGY:
Transparent Medium-color that is applied in thin washes that allow the paper and
underlying colors to show through.

Wash-a thin layer of color suspended in water until it is dissolved. Pigment does not
have the ability to hide that which is beneath.

Flat wash- a technique which will give you an area of color that appears to have the
same value.
Graded wash- approach used to achieve an area that shows a gradation from dark to light
by dipping into a wash and then into water as you pull the paint down the paper.

Wet-in-wet-applying a fully charged brush to a wet surface.With this approach very little
control can be expected.(useful in atmosphere studies)

Wet-in-dry-applying a fully charged brush to a dry surface.This is the approach for the
timid painter who desires and enjoys more control.
Dry brush-a partially dried brush used in order to achieve fine lines for hair,grass
texture on wood,etc.
Gouache-(pronounced ga-waash)watercolor pigment with white added to make it
opaque. This opaque medium covers the colors beneath it.

Incising-a method of scratching into the surface of the paper to form dents or canals
whereby the color will be more or less concentrated.
Resist- is the use of a water resistant material that will repel the watercolor.Some
examples include:crayons,rubber cement,liquid masks,(the latter can be removed
and the areas reworked with additional colors.)
Blossoms-dropping clean water into an area with a lot of pigment to create a bleeding of
colors-most often a diluted color.

Backwash-pushing clean water into areas with a lot of pigment in a similar
manner as to create long passages of blossoms.

Alla-prima- (quot;into the firstquot; or quot;into the primequot; is it's meaning) this is an approach to
painting that allows the artists to mix his paint on his painting surface.

Technique-a method of accomplishing a desired aim.

Watercolor paper-is available in many different weights from 20 lbs. to 400 lbs. It is
very absorbent and capable of being reworked many times.

Watercolor brushes-are available in many soft hair sizes and price ranges.They
must be capable of holding lots of water and must have the ability to spring back
without going limp when pressed to paper.

Watercolor paints-are available in tubes,cakes,and pans.Many colors are available in a
range of prices.Try them all,mixing your own colors.

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Watercolor-the Transparent Medium

Watercolor is a transparent medium in which the white paper shows through applied color.
Pigment is transported by water and color and is manipulated by soft hair brushes. The
idea in watercolor painting is to create a fresh, spontaneous, sparkling, and transparent
looking painting.
HISTORY:
• Water based media is one of the oldest painting substances.
• Egyptians used watercolor for wall illustrations, Eutruscans decorated with watercolor,
• and Roman and Byzantines also painted with watercolor.
• The greatest use and contributions came from the Orient. In the 8th century, the
Japanese, Chinese, Indians, and Koreans were painting with watercolor.
• Renaissance artists used watercolor as a sketching medium before painting in oils. It
was a spontaneous colored extension of drawing.
• In England, Paul Sandby was credited with the development of the pure watercolor
technique where the white of the paper became part of the medium and transparent
watercolor was born. Other artists were Cozens, Gertin, and Turner.
• The French Impressionist also contributed to the use of watercolor.
• The naturalists,Winslow Homer is considered the Master of the medium of watercolor.
His favorite subject was the sea.He did a beautiful Bahama series with vibrant rich colors
of the water shimmering.
• The American painters of the 19th century used watercolor in a transparent technique
and also to create impressionism. In addition, watercolor clubs and societies were
formed, but it still was not considered an important medium.
• John Marin was a 20th century artist who began painting abstractly structured city
scenes and landscapes.
• Today watercolor is an exciting and a popular medium used all over the world by all
kinds of artists.

Watercolor Tools and Materials:
Watercolor paints are available in tubes,pans and cakes. Watercolor pencils and
payons (crayons) are also available.
Watercolor paper has a higher degree of absorbency. It may be purchased in light
medium and rough textures. It is available in different weights from 30 lbs.-400 lb. The
best paper is made from 100% linen rag. Paper is the most important part of
watercolor.The correct paper will allow texture and sparkle in your work.
Watercolor paper is prepared and can be stretched to a board and then wet in order to
prevent buckling. It can also be soaked for five (5) minutes or more and then stretched
on a board by taping all four sides,again to prevent the paper from buckling.
Watercolor brushes must have the capability of holding lots of water and yet will not go
limp when pressed to the paper. It must spring back. Sable brushes are the best quality
available. They are soft-haired in a variety of flat and round.The bigger the better.
Mixing Pan or Palettes must have a lot of room for mixing. Anything will do such as a
large plate or platter.
Optional supplies include the following;razor blades or an X-acto knives,
toothbrush,crayons,salt,pencils,ink,sponge,masking tape,mask,rubber cement,blotting
kleenex tissue,sandpaper,palette knives,water containers,
or anything that your imagination can think of to produce a special effect.

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WATERCOLOR TECHNIQUES AND PROCEDURES:

Working with watercolor often produces fear because of the feeling of not being able to
control the paint. There are many ways to create texture and interesting effects in a
painting. The best way to learn is to experiment. Practice and use of the many exciting
techniques will help overcome the fears of this most exciting medium.Some of the most
common techniques include:

1.Transparent wash 3.Wet-in-wet 5.Glazing 7.Incising 9.Graded Wash 11.Alla-prima
2.Flat Wash 4.Wet-in-dry 6.Gouache 8.Resist 10.Dry brush 12.Blotting

PROCEDURE FOR WATERCOLOR:

Remember: Watercolor is lightened by diluting the paints by adding more water.

1.Find some interesting subject matter that is inspiring to you.Your own photographs
may provide ideas,however keep them simple,do not include everything.Sketchbooks
are another place to look for good ideas.This will encourage the artist to put their own
feelings into the painting. Nature is another good source of ideas.You might even think
up a picture from your imagination that represents a story or poem, a fantasy or just
something wild and creative from your own thoughts.

2. Do thumbnail sketches of your subject matter to decide on the best composition.

3.Tranfer the best thumbnail composition to your watercolor paper. Draw very lightly with
a hard pencil.Keep it simple,be careful not to erase as this may damage the paper.

4. Begin to lay in light washes of color. Work from light to dark.Use a large brush to place
these colors in their proper position. Allow this layer of color to dry.

5. Continue to place colors in their proper place working from light to darker values.
Keep it simple at this point avoid details.Shapes only-no details.Add details last of all
such as leaves,textures,line ,features,shadows,etc.

Do not overwork, try to stop at three layers of color in each area. Avoid scrubbing as this
may damage the paper.

The general rule for working in watercolor is to work from light to dark. It is also a
very good habit to leave whites throughout the phases of your work.

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WATERCOLOR TECHNIQUES WITH UNUSUAL TOOLS AND MATERIALS:

Experiment with some of the following techniques before trying them in a painting.
Learn how to create a variety of effects in color and texture.
Experimentation can be fun and can add interest to your paintings as well.

1. To block out an area you wish to remain unpainted, first cut a piece of masking tape to
fit the area and press it into place. Run your washes over the area and when the wash
has dried carefully peel away the tape.

2. After peeling away the masking tape,add to the area any needed details or color .

3.Using one of the commercial masking materials, such as Maskoid or Maskit, or rubber
cement , block out areas to remain light. Use an old brush, after the overlying paint has
dried, rub away the masking material and add details.

4.A wax crayon, white or yellow; can be used to do lettering or drawing any detail that
requires careful drawing. When a wash is run over this area, the wax resists the paint
and the lettering or drawing stands out clearly.

5.Before washes dry,use an X-acto knife to scrape out certain values which you wish to
be lighter. When the wash has dried,add details.

6.A soft facial tissue can be used to blot out large cloud areas.The soft edges can be
allowed to dry and details painted over them.

7.Textures created by scratching with a point of a single edge razor or an x-acto knife
can be effective;it can give the effect of rain or sleet.

8.A balled up paper towel can give soft and rather sharp edges in combination, when
blotted into a wet wash.

9.A hard ink eraser can be used to remove an area of color and can be used to produce
a soft foggy effect.Be sure the washes are dry before erasing.

10.After laying a wash,you can drop salt on the wet paint to create an interesting texture.
When the paint is dry,wipe away the salt.

11.A soft cosmetic sponge can be used to create a random texture effect often useful in
painting leaves or ground areas.This should be done over a dry wash area.

12.Dry brush is interesting and is useful in creating a field of grass very quickly.(an old oil
brush is good for this purpose)Start at the bottom of the area and pull the brush up in
single strokes.Do not use too much water with the paint; it should not run.

13.After a wash has dried, a light rub with some medium sandpaper will create a texture
by removing some of the paint.

14.For a fairly uniform spatter effect, dip an old tooth brush in paint and scrape it across
your finger,pulling the tooth brush toward you.
14


15.For a different kind of spatter,fill the tooth brush with paint and tap the color on by
hitting the brush with your finger.

16.Wet drops of paint squeezed from the brush and allowed to run into the still wet
surfaces will create interesting effects.

In watercolor, you always dilute your colors into washes.A wash is a thin and highly fluid
application of color.Two of the most common techniques used in watercolor are the flat
and graded wash. Practice both methods until you feel comfortable and have gained an
understanding of the uses of each.

How to Lay a Flat wash:

To lay a flat wash:
1. prepare enough color in a small pan or jar to cover the whole area to be painted.
2. With a large brush, apply the color in a band across the paper in a single even
stroke,moving from left to right.
3. Pick up another brushful of color and, touching the first band of color,sweep it evenly
across the paper.
4. Do not stop or go over any areas of color. Continue this until the whole area is
covered.The area should be even,without definite lines appearing anywhere,and the
color should be uniform.
5. Try again until you have a flat wash.

How to Lay a Graded Wash

Laying a graded wash is a bit more difficult.
1. Load your brush with evenly mixed dark pigment and water and then apply it to the
top of the paper in a single horizontal stroke.
2. In the strokes that follow,add more clear water to dillute the paint,making it lighter.In
the second stroke and those that follow.
3. Touch the edge or quot;beadquot; of water of the preceding stroke.
4. Practice laying a graded wash until you know the right amount of clear water to add
after the flat brush stroke.
5. Tilt the paper so that the paint will flow easily down the paper; but not so freely that it
puddles at the bottom.
6. As in the flat wash, there should be no hard lines dividing the values

15

WATERCOLOR-In A DOZEN EXERCISES:
1.W ate rc olor with d ots a nd d ash es of col or as the Impressionist did.Make
.W
an 18quot;X24quot; study using only dots and dashes of color that are varying in size and color. The dots can
be organic and irregular rather than geometric. Let the painting be recognizable rather than abstract.

2.Alla - prim a - dir ect pai ntin g-which involves an all at once approach to mixing the paint on your paper,
Alla g
rather than on your palette. Try a familiar object from an unusual perspective. Use the alla-prima
technique with a bird's eye view or an ant's eye view.

3.Wat er col or with in cisin g-Paint a group of three or more highly textural objects. Incorporate incising
Wat g
into your picture and allow it to dominate in order to become the major visual experience in your
painting.

4.A bstr acti on i n Wat er col or-Create an abstraction from the painting you made in class. Keep the
A or
colors of the first painting but change any or all of the other elements of design ( line, shape,form,
texture,etc.) in order to create an abstract form. From your study, the painting may be semi-abstract or
totally non-objective.

5.Wat er col or with t wo br us h es-Painting with two kinds of brushes a bamboo and a round watercolor
Wat es
brush. Make a stroke of color and then follow it with a brush charged with clean color. Leave white
areas as well as overlapping areas of color.

6. N e gativ e S p ac e W at erc ol or- Sketch lightly the still life in front of you. Paint the negative areas
or
around the objects.Leave the objects unpainted until you are near completion,then add as many light
tints as desirable.

7.C ra yo n - re sistin g a n d w at erc olo r-Use a crayon to draw two objects that ordinarily are not thought
C r
of as being compatible for example, an oceanliner on top of an umbrella,or a horse galloping across a
table. Your objective is to bring two contrasting unlikely objects together.The crayon and the
watercolor will resist one another to create interesting effects.

8. W et - i n - w et W ate rc olor-Paint a wet-in-wet study with or without crayon resist. Try the most
olor
interesting view out the window. Wet-in-wet is similar to stop action photography-whereas we watch
the phenomenon as it unveils.

9. Pa rtial w et - i n - wet .Try partially wetting your paper. You select the content of this piece. As you
work,observe the difference between the wet and dry areas. You will establish preferences and have
reasons to try one or the other or sometimes both .

10.W at erc olo rs with r esist-Create a painting that has a sense of deep space. Use tape,rubber
.W esist
cement,and frisket to block out white areas and shapes. In some areas, paint a light value,allow it to
dry,then mask it off to protect it from the next color.

11. W ate rc olo r p e ncils a n d p ay o ns-Create a composition of a still life object or of plants or flowers.
ns
Use the watercolor pencils and payons.Use no primary colors, only secondary and tertiary
(blue-green) Strive for a very low key picture.

12.W at erc olo r a n d tr an slus ce nt pa p er-Paint a simple landscape with three colors-a triad harmony
.W er
on tracing paper.Work for a delicate balance of colors and values with transparent washes on
semi-transparent paper. Work to control your light tones. Upon completion, paint the same painting on
regular watercolor paper

16

“ Resist-able Images”(excerpt from The ArtWorkBook:Art Class Notes)
(Crayon and Watercolor Resist)

Objectives:
Learn to express yourself in the crayon resist process.

Time Line: 5 hours
Tools and Materials: Crayons, white drawing or construction paper, brushes, watercolor or tempera
paint or ink

Procedures:
1. Observe their natural subject (leaves, shells, insects, birds, etc.)
2. Sketch subject with a light colored crayon rather than pencil to produce a contour line. Go over
with other crayons applied heavily. Do not fill in subjects with colored crayons. The more detail
incorporated into the composition, the richer and more complex the design will become.
Background embellishment may be included with the addition of leaves, flowers, rocks, clouds, to
help tie the composition together.
3. Using watercolor or tempera apply the transparent colors over and between the lines.
Continuation/Variation:
Limit yourself to one color or use a variety of colors. A wet-on-wet or wet-on-dry paper approach
may be employed.
Tempera-india ink resist is another challenging alternative replete with surprises. A preliminary
drawing is made in school chalk on white or light colored construction paper. Paint is applied up to
the chalk outline but not covering it. Allow the paint to dry completely. India ink undiluted is applied
generously over the tempera surface, allowed to dry thoroughly, and then rinsed off at sink. Note:
the tempera paint used should be a good quality liquid tempera. Powdered tempera has worked for
some teachers mixed with a small amount of glue. The paint should be a creamy consistency. Watery
paint will absorb the final layer of ink rather than resist it. Consider the importance of using bright
intense hues to contrast the black india ink. Paper is also an important consideration; white drawing
paper or gray bogus works well.

Terminology/Techniques:

resist contrast intensity tints values hue

Motivation/Resource Material:
Illustrated books, periodicals featuring wildlife, color slides, films of the same will increase
•
student awareness.

Subject matter that is full of patterns and natural designs are recommended for this process
•
such as; fish, birds, reptiles, and insects.

17

Additional themes might include: Hot air balloons, underwater scenes, fireworks, the circus, a
•
parade, umbrellas in the rain, Halloween, falling
autumn leaves, flower gardens, jungle birds, party favors, gourds, squash and dried flowers, Indian
kachina dolls, Japanese kikeshi dolls, sail boat races.
See more examples in The ArtWorkBook at www.artworkontheweb.com )
•

Questioning Strategies:
Has pressure been used in applying the crayons to achieve rich, glowing colors?
•

What happens when the wet media is juxtaposed next to the wax media? Variation:
•

Did I use light bright values of color to provide contrast against the
•
black ink?

18


Fragmentation
Often times beginning artists are not concerned enough about the
relationship between the positive and negative parts in their picture.
The following exercise forces them to interact between these related areas.

Objectives:
Draw an object in a blind contour line drawing emphasizing the positive and negative
areas in order to gain an understanding of figure-ground relationships. Investigate and
develop form with cross contour lines.

Time line: 5 hours (more time if using fine point drawing tools.)

Tools and Materials:

18” X 24” Manila paper or white drawing paper, fine point markers or pen staffs and
assorted nibs or rapidograph pens.

Procedures:
1. Place the still life object in front of you. Discuss and review positive and negative space.
Draw the object in blind contour.
2. Dissect the page with lines ( straight or curved) to break up the space into three or more areas.
3. Focus on negative space in one or more areas. The negative space will be emphasized with a
massing of lines or words or patterns.
4. In the other areas, the emphasis will be placed on the positive areas with cross-contour (wrap-
around) lines.
5. Consider the importance of balancing the areas of light and dark. The weight of the dark areas
created by massing of lines should be studied.

Terminology:
blind contour cross-contour value positive negative
figure ground ambiguity

Motivation/Resources:

The Drawing Handbook,
•
Arttalk, Ragans Page 101-103,
•
Drawing: Ideas, Materials and Techniques, Brommer,G.
•

19


Watercolor Intensity Painting
Objectives:
Complete paintings showing your interpretations of an environment.
Create an area of visual emphasis with an area of greater color intensity.

watercolor paper, watercolor brushes, pencils, watercolor tubes, palettes, water
containers, paper towels, masking tape, etc.
Procedure:
1. Acquire resource material of images that you would like to interpret.
2. Sketch lightly in pencil, indicate the areas of lightness and darkness. The better the drawing, the
better to insure that the painting will be better.
3. Paint from light to dark-laying in transparent washes. Glaze the complimentary colors into the
areas to dull the intensity of areas that you do not wish to be bright.
4. Discuss: How can emphasis be created?
Location-an off center or or informal composition can be more interesting rather than a central
•
one.
Intensity and Value-the main center of interest may be the brightest or the most intense area;
•
the main center of interest may be the darkest area or lightest area.
Amount-equal amounts of too many colors may be confusing in
•
comparison to a color arrangement in which one color or value dominates.

Terminology:
• Color-how we see light reflected from a surface. Different wave lengths of
light as seen as different colors.
• Intensity-the brightness or dullness of a color; to change or dull the
intensity of a color, add its compliment.
• Complimentary colors-colors directly opposite each other on the color
wheel: red and green, blue and orange, and violet and yellow.
• Pigment-chemical or natural material used to give color to a surface.
Emphasis-the main center of interest, or the most important part of a piece of artwork. This
•
dominant area can create variety and interest in your picture while unifying the composition.

Motivational Materials:
• Examples of watercolor paintings (teacher and student work)
See web site at: www.artworkontheweb.com
•

20

Watercolor Books or other reference material on watercolor painting; including works of
•
famous artists.
Color wheel
•
Questioning strategy:

• Are the intensities of the colors varied for compositional diversity and subtle?
Are bright, high-intensity colors employed for emphasis wherever such emphasis is needed?
•

www.artworkontheweb.com
Joan Maresh-Hansen
( excerpted from The ArtWorkBook series)


21


Wearing My Watercolors ( Excerpt from The ArtWorkBook)

Objectives:
Investigate watercolor techniques on a piece of clothing or on jewelry on a smaller scale to create another
version of personal adornment and wearable art.

Time Line: 1-3 hours depending upon how many pieces are made.


Selected papers (watercolor papers, cardboard, typing paper, drawing paper, poster board, illustration
board, foam board)watercolors, watercolor pencils, earring posts or pin backs, glue gun, acrylic gloss or
Resin.
Option: 100% Cotton shirt or denim jacket

Procedures:

1. Select paper for your earrings. Cut or tear this into the desired shape. Paper must be sturdy and
secure enough to hold the base for the earring.
2. Secondly, the watercolors need to be selected for the earrings. Apply the colors in numerous
watercolor techniques experimenting on the smaller works. Consider that cloth, puffy paint, and
colored rhinestones can be incorporated into the designs at any point to add texture and variety to
your designs.
3. After the earrings are painted and decorated. Allow them to dry. Watercolors dry quickly.
Consider folding, tearing, overlapping, collaging other sheets together for a sculptural effect.
Portions of beads, parts of other pieces of costume jewelry or leather can dangle off of the earring.
Be imaginative.
4. An acrylic gloss or resin can be applied over the surface to waterproof and protect the earring to
prevent the paint from rubbing off.
5. Finally an earring post needs to be glued to the back of the earring and left to dry. A glue gun or
super glue works well to secure this.
6. Now the earrings are ready to wear.

Continuation/Variation:
22


Preface this lesson with an introduction to watercolor and explore techniques on small pieces of
•
paper to be made into earrings.

Limit your experiment with various techniques onto separate pairs of earrings. (Wet-on-wet
•
wearables, Wet-on-dry Designs)

Make pins to match
•

Make T-shirts, clothes, painted denim jackets or sweats to match.
•

Terminology/Techniques:

Watercolor resin collage mixed media

Motivation/Resource Material:

Show contemporary designs of jewelry and wearable art
•

Books on jewelry: Paper Fancy , Fashion Jewelry by Kay Burdette, Book #238
•

Questioning Strategies:

Are the colors repetitious to have the design unified?
•

Have I effectively embellished the shape?
•

Could anything else be added to further enhance the design?
•

www.artworkontheweb.com
Joan Maresh-Hansen
( excerpted from The ArtWorkBook series)


23


Part II: Watercolor Worksheets, Tests and Answer Keys

24


WATERCOLOR TECHNIQUES Vocabulary:

1.Transparent wash

2.Flat Wash

3.Graded Wash

4.Wet-in-wet

5.Wet-in-dry

6.Dry brush

7.Glazing

8.Gouache

9.Alla-prima

10.Incising

11.Resist

12.Blotting

25

Watercolor Worksheet:
PAINTING WITH TRANSPARENT WATERCOLOR:
1.In what ways did the European and English watercolorists techniques vary?

2. Who was the English watercolorist credited with the development of the pure
watercolor technique?Name other artists.

3.What were the characteristics of watercolor adopted by American painters of the 19th
century?

4.Name a 20th century artist who began painting abstractly structured city scenes and
landscapes.

5.Name the naturalistic painter known as the quot;Master of the medium of
watercolorquot;.What was his favorite subject to paint?

6.Define briefly the following watercolor terminlogy:

A.)Transparent medium-

B.)Wash-

C.)Opaque medium-

D.)Gouache-

E.)Flat Wash-

F.)Graded Wash_

G.)Wet-in-Wet-

H.)Wet-in-Dry-

I.)Dry brush-

J.)Glazing-

K.)Techniques-
26

KNOW YOUR TOOLS AND MATERIALS:

7.How does watercolor paper differ from other art papers?

8.What characteristic should a good watercolor brush have?

9.How are watercolor paints available?

10.What tools,materials,and equipment are needed to begin watercolor?

11.How does one prepare paper for watercolor?

12.How does one lighten a color in watercolor?What is the general rule
for working in watercolor?

DO AS THE ARTISTS DO in Watercolor:

In your SKETCH BOOK complete the following exercises:
A.) Sketch a picture lightly. Dissect this by drawing a line lightly through the
center of the picture. On one half, paint it as an English watercolorist
on the other half, paint as a European watercolorist.

B.) Sketch a second composition of a still life or landscape. Paint it as an
American painter of the 19th century.

C.) Sketch an abstractly structured city scene. Paint it as the artist of the
20th century

D.) Sketch a subject. Investigate a quot;master of the watercolor medium.quot; Paint your
subject as they would have done. Compare your work to theirs. Did you paint it in a
similar manner?

Upon the completion of your watercolor assignments. Allow these to dry.
Sign your name in pencil lightly in the bottom right corner. Take a piece of
18quot; X 24quot; news print ,fold it once to make a folder. Place your four pieces of
art work in the folder. On the outside, print your full name ,art class level and
class period number (circled)and dated.

27

Watercolor Worksheet-Answer Key:
PAINTING WITH TRANSPARENT WATERCOLOR:
1.In what ways did the European and English watercolorists techniques vary?
Europeans used watercolor primarily to tint ink drawings or to do miniature
paintings as preliminary works for oil paintings. English used watercolor in a
transparent,aquarelle manner.
2. Who was the English watercolorist credited with the development of the pure watercolor
technique? Name other artists.
Paul Sandby was credited with the development of the pure watercolor
technique. Other artists were Cozens,Gertin, and Turner.
3.What were the characteristics of watercolor adopted by American painters of the 19th
century?
They used watercolor in a transparent technique and also to create
impressionism.
4.Name a 20th century artist who began painting abstractly structured city scenes and
landscapes.
John Marin
5.Name the naturalistic painter known as the quot;Master of the medium of watercolorquot;.What
was his favorite subject to paint.
Winslow Homer is considered the Master of the medium of watercolor.
His favorite subject was the sea.
6.Define briefly the following watercolor terminology:
A.)Transparent medium- A medium used to give a clear transparent effects.
Transparency depends on how much the medium is diluted.
B.)Wash-A large area of thinned paint on a picture.This is achieved by diluting
pigment in a puddle of water. Darkness is achieved by overlaying washes.
C.)Opaque medium-A medium that achieves a solid layer of color that you
cannot see through.
D.)Gouache-The addition of white to the watercolor pigment which gives this
medium the ability to cover that which is beneath it.
E.)Flat Wash-An area of color that is uniform throughout, it appears even
without a change in value.
F.)Graded Wash_A wash that gradually changes from dark to light or light to
dark.
G.)Wet-in-Wet-Technique which involves applying a wet brush to a wet or
dampened paper.This gives a fuzzy effect with very little control-useful in
atmosphere studies.
H.)Wet-in-Dry-Technique where a wet brush is added to a dry surface. This
gives a smooth effect and offers more control.
I.)Dry brush-Applying color with a dry brush to achieve textural effects such as
grass,wood grain, hair and any other types of fine line details.
J.)Glazing-Applying thinned color to an already dried area to unify the picture.
K.)Techniques-Method to achieve a particular result. The ways in which an artist
uses and applies his media-a shortcut to a particular end result.

28

KNOW YOUR TOOLS AND MATERIALS:
7.How does watercolor paper differ from other art papers?
Watercolor paper has a higher degree of absorbency. It may be purchased in light
medium and rough textures. It is also available in different weights from 30 lbs.-
400 lbs.
8.What characteristic should a good watercolor brush have?
A good watercolor brush must have the capability of holding lots of water and yet
will not go limp when pressed to the paper. It must spring back.
9.How are watercolor paints available ?
Watercolor paints are available in tubes,cakes, and pans.Watercolor pencils and
payons (crayons) are also available.
10. What tools,materials,and equipment are needed to begin watercolor?
Watercolor paints, brushes, paper, water containers, palettes, sponges, X-acto
knives, kleenex, salt ,crayons, mask ,sandpaper, tape, toothbrushes,etc,...
11.How does one prepare paper for watercolor?
Watercolor paper can be stretched to a board and then wet in order to prevent
buckling. It can also be soaked for five (5) minutes or more and then stretched on
a board by taping all four sides,again to prevent the paper from buckling.
12.How does one lighten a color in watercolor?
Watercolor is lightened by diluting the paints by adding more water.
13. What is the general rule for working in watercolor?
The general rule for working in watercolor is to work from light to dark.It is also a
very good habit to leave whites throughout your work.

DO AS THE ARTISTS DO:
In your sketchbook /journal,complete the required exercises:

A.)Sketch a picture lightly. Dissect this by drawing a line lightly through the
center of the picture. On one half, paint it as an English watercolorist
on the other half,paint as a European watercolorist.

B.)Sketch a second composition of a still life or landscape. Paint it as an
American painter of the 19th century.

C.)Sketch an abstractly structured city scene. Paint it as the artist of the
20th centu

D.)Sketch a subject. Investigate a quot;Master of the watercolor medium.quot; Paint your
subject as they would have done. Compare your work to therirs. Did you paint it in a
similar manner?

Turn in assignments:
Upon the completion of your watercolor assignments. Allow these to dry.
Sign your name in pencil lightly in the bottom right corner. Take a piece of
18quot; X 24quot; newsprint,fold it once to make a folder. Place your four pieces of
art work in the folder. On the outside.Print your full name,art class level and period
number (circled)and dated.

29


Watercolor Test
Matching: Match the correct word with it's definition.
1.________Transparent medium
2.________Wash
3.________Opaque medium
4.________Flat wash
5.________Graded wash
6.________Wet-in-wet
7.________Wet-in-dry
8.________Dry-brush
9.________Technique
10._______Blossoms
11._______Incising
12._______Alla Prima
13._______Backwash
14._______Winslow Homer
15._______Gum arabic

A.)A partially dried brush used in order to achieve fine lines for such details
as grass, and hair, etc.,
B.)Watercolor pigment with white added in order to cover that which is
beneath.
C.)Color that is suspended in water.
D.)An area of color that appears to be the same value andis a flat area of
color.
E.)A method of achieving a desired aim.
F.)An approach to painting that allows the artist to mix his paint on his/her
paper.
G.)Dropping clean water into an area with a lot of pigment to create a
bleeding and diluting of the colors.
H.) An approach to achieve an area that shows a transition from dark to
light.This is done by dipping into a wash and then into clean water as you
pull the paint down the paper.
I.)Applying a fully-charged brush to a wet surface,which gives you very
little control.This technique is useful in atmosphere studies.
J.)Pushing clean water into areas with a lot of pigment in order to acheive a
long passage of blossoms.
K.)An approach using a fully-charged brush to paint in a dry area.This
allows the timid painter much more control.
30

L.)Watercolor is described as this because it's colors are applied in thin
washes that allow the paper and the underlying colors to show through.
M.)A method of scratching into the paper to form dents or canals whereby
the color is more or less concentrated.
N.)The binder that holds watercolor pigment together.
O.)Naturalistic painter-known as the quot;master of watercolor medium.quot;

True or False:
16.______Watercolor paper comes in a variety of weights from 20 lbs. to 400
lbs.
17.______Watercolor paper is very delicate and you must be very careful in
how you work with it.
18.______Watercolor paper absorbs water and is very textured.
19.______Watercolor brushes are stiff and must have body to push paint.
20.______Watercolor brushes must be capable of holding lots of water as well
as have the ability to spring back into shape.
21.______Watercolor when done properly should allow for each layer of color
to dry.
22.______When you allow the colors to dry, the results are beautiful overlays
of color.
23.______Improper use of watercolor will muddy up your colors.
24.______Watercolors can be resistant to certain materials such as
crayons,glue,or frisket.
25.______Watercolors are available in only two forms including tubes and
pans.
26.______One myth established about watercolor is that corrections and
changes cannot be made.
27.______Watercolor is a spontaneous and suggestive medium which can be
an exciting adventure.
28______You must let accidents happen in watercolor and go beyond them in
your expression.
29.______All the supplies needed for watercolor are: paints,palettes,water,
water containers and brushes,
30.______Always dilute your colors in a puddle of water when doing
watercolor.
Watercolor Subjects:
31.Winslow Homer painted the sea with all of its beauty.
What other subjects have been depicted in this exciting medium?

32.What water scenes could we paint in watercolor?
31


Watercolor Exercises:

33. Show the contrast between a flat and graded wash.

34.Show the difference between a wet-in-wet and a wet-in-dry approach
using the same subject in a 5quot; X 5quot;composition.

35.Show an example of incising.

36.Show how to paint with two brushes employing the alla-prima technique.

37.Create blossoms and a backwash.

38.Show how to use a resist process in watercolor.

39.Show how to use the watercolor pencils and payons.

40.Show some experimentation combining techniques of your choice.
32

Watercolor Test: Answer Key
Matching: Match the correct word with it's definition.
1.____L____Transparent medium
2.____C____Wash
3.____B___ Opaque medium
4.____D____Flat wash
5.____H____Graded wash
6.____I____ Wet-in-wet
7.____K____Wet-in-dry
8.____A____Dry-brush
9.____E____Technique
10.___G___ Blossoms
11.___M____Incising
12.___F____Alla Prima
13.___J____Backwash
14.___O____Winslow Homer
15.___N____Gum arabic
A.)A partially dried brush used in order to achieve fine lines for such details
as grass, hair,etc.,
B.)Watercolor pigment with white added in order to cover that which is
beneath.
C.)Color that is suspended in water.
D.)An area of color that appears to be the same value and is a flat area of
color.
E.)A method of achieving a desired aim.
F.)An approach to painting that allows the artist to mix his paint on his/her
paper.
G.)Dropping clean water into an area with a lot of pigment to create a
bleeding and diluting of the colors.
H.) An approach to achieve an area that shows a transition from dark to
light.This is done by dipping into a wash and then into clean water as you
pull the paint down the paper.
I.)Applying a fully-charged brush to a wet surface,which gives you very
little control.This technique is useful in atmosphere studies.
J.)Pushing clean water into areas with a lot of pigment in order to acheive a
long passage of blossoms.
K.)An approach using a fully-charged brush to paint in a dry area.This
allows the timid painter much more control.
L.)Watercolor is described as this because it's colors are applied in thin
washes that allow the paper and the underlying colors to show through.
M.)A method of scratching into the paper to form dents or canals whereby
33

the color is more or less concentrated.
N.)The binder that holds watercolor pigment together.
O.)Naturalistic painter-known as the quot;Master of watercolor medium.quot;

16._TRUE_Watercolor paper comes in a variety of weights from 20 lbs. to 400
lbs.
17._FALSE_Watercolor paper is very delicate and you must be very careful in
how you work with it.
18._TRUE_Watercolor paper absorbs water and is very textured.
19._FALSE_Watercolor brushes are stiff and must have body to push paint.
20._TRUE_Watercolor brushes must be capable of holding lots of water as
well as have the ability to spring back into shape.
21._TRUE_Watercolor when done properly should allow for each layer of color
to dry.
22._TRUE_When you allow the colors to dry, the results are beautiful overlays
of color.
23._TRUE_Improper use of watercolor will muddy up your colors.
24._TRUE_Watercolors can be resistant to certain materials such as
crayons,glue,or frisket.
25._FALSE_Watercolors are available in only two forms including tubes and
pans.
26._TRUE_One myth established about watercolor is that corrections and
changes cannot be made.
27._TRUE_Watercolor is a spontaneous and suggestive medium which can be
an exciting adventure.
28_TRUE_You must let accidents happen in watercolor and go beyond them in
your expression.
29._FALSE_All the supplies needed for watercolor are:
paints,palettes,water,water containers and brushes.
30._TRUE_Always dilute your colors in a puddle of water when doing
watercolor.

Watercolor Subjects:
31.Winslow Homer painted the sea with all of its beauty. What other subjects
have been depicted in this exciting medium?
Landscapes,still life,and portraiture all have been explored.

32.What water scenes could we paint in watercolor?
Rainy days, water sports, reflections and water scenes are just a few
possibilities.

34


Watercolor Exercises:
33. Show the contrast between a flat and graded wash.
34.Show the difference between a wet-in-wet and a wet-in-dry approach using
the same subject in a 5quot; X 5quot;composition.
35.Show an example of incising.
36.Show how to paint with two brushes employing the alla-prima technique.
37.Create blossoms and a backwash.
38.Show how to use a resist process in watercolor.
39.Show how to use the watercolor pencils and payons.
40. Show experimentation in techniques of your choice.

35


Student Gallery: Sign up to be on the mailing list to see more student samples.

Watercolor Project I:
Fourth year students portrayed plants in class room in watercolor

Watercolor Project II:
First year students were ask to paint with watercolor over crayon
contour line drawing of plants in a resist method.

Watercolor Project III:
Ap student investigated various media in different zones of this
piece. Although the same subject was investigated, results were
imaginative.

See more samples and sign up for mailing list at:

Cool Watercolor Books:
• The Complete Guide to Creative Watercolor by Miles G. Batt
• Splash is an annual edition that shows the best of the watercolor societyʼs
works each year.

36

For a FREE GIFT from Joan Maresh-Hansen
Fill out the following survey and email it to:
You must COPY and PASTE the survey into an email:
Be sure to provide an email address that works, the gift will be emailed. Thanks in advance for your
assistance.
ArtworkBook Survey: The Book
The ArtWorkBook was first self-published in 1990 and sold out three times across the state and nation.
As a newly retired art educator, it is my intent to leave behind exemplary examples of student work along
with the accompanying lessons that have repeatedly proven successful in the more than three decades of
my incredible teaching life. The book serves two purposes as a resource for making art work and then
learning to talk and write about it. (That is why it is called the Artwork book and Art Workbook—get it?)
I NEED YOUR INPUT! In the revision of The BOOK designed for classroom use. MY indecision came
about not certain that all art teachers could use works published on a CDROM or posted on a web site.
Note: Many of the lessons in the numerous presentations seen over the years at NAEA and TAEA are
included in the THE BOOK. So please tell me your preferences, and tell me what you need. What format
works best for you?

Black & White pages with SLIDE SETS available
______I prefer black and white pages of lessons for easier reproduction.
______I would use an accompanying slide set for examples of student work.
______I prefer black and white pages of lessons in e-book that can be
downloaded.

Black & White pages with seperate LEAVE BEHINDS
(colored pages of of student work)
______I prefer black and white pages of lessons for easier reproduction. This
format would include a section of pages called LEAVE BEHINDS with
numerous colored examples of student work.
______I prefer black and white pages of lessons with colored examples in an e-
book.
CDROM of Lessons & Electronic Presentations of Art
______I would prefer a CD ROM with lessons for printing, presentations for
showing on my computer and student examples
______Show project ideas ______Show student portfolios
______Show media examples ______Show ( Art 1,2,3,4,AP lessons)
Web site(for downloading)www.artworkontheweb.com
____I prefer being able to pick & choose online at a web site.
______I would prefer a CD ROM with lessons for printing, presentations for
showing on my computer and student examples.

OTHER PRODUCTS:
Create FLASH CARDS for ( Circle one or as many as interest you) ______Levels of
art______projects______media use_____Journal assignments, or________________________.
______I want a small FLASH CARD SET(S) with student examples and the
assignment stated in a simple step by step process to give to the students
37

clarity in the process of projects or homework or sketchbook assignments.
Paper Portfolio Packs:
______A set of student’s portfolio on 8.5” X 11” paper with an artist’s statement

Staff Development with an Attitude: Idea Institutes
____Come to school so all art teachers in the district can get together for IDEAS!
____District pays for 1/2 1 day/ 2 days/ week (of hotel stay, meals and travel)
____Sign me up for a SUMMER RETREAT in pretty place ( In Tx/ Out of Tx) in
a cabin like setting with morning sessions of viewing student work and
afternoon sessions of making art in different media. Focus would be on
IDEA EXCHANGES in: Drawing, painting, journal work, altered books,
design, mixed media and electronic media.
____Train me/our teachers in BOOTCAMP, a GRANT to fly into schools with/without computers and
train that group of art educators in the effective use of making art on the computer.

Provide email:_______________________________________________

Name: ( First)__________________(Last)_________________________

Address:_________________________City: _______________________

State______________Zip___________Phone:_(_____)________________

School name______________________School Phone(______)___________

School address_____________________School district:________________

School email:__________________________________________________

Comments:
Thank you very much!
Joan Maresh-Hansen is the CEO of HeArtWorks and Company, and the founder of The Idea Institutes. She is a
dynamic and entertaining speaker. She can be reached at the website. And you can find out much, much more about what she
is doing in her new life beyond public school teaching in her virtual art room web site: http//www.artworkonthweb.com
She would love to hear from you. Feel free to contact her .

38

Pass It ON! To:Art Teachers & Home Schooling Parents who would enjoy Art
Lessons & Ideas: Your Name :______________________Email:_______________
1.
Name:______________________________________________________

Email: :______________________________________________________

2.
Name:______________________________________________________

Email: :______________________________________________________
3.
Name:______________________________________________________

Email: :______________________________________________________
4.
Name:______________________________________________________

Email: :______________________________________________________
5.
Name:______________________________________________________

Email: :______________________________________________________
6.
Name:______________________________________________________

Email: :______________________________________________________
7.
Name:______________________________________________________

Email: :______________________________________________________
8.
Name:______________________________________________________

Email: :______________________________________________________
9.
Name:______________________________________________________

Email: :______________________________________________________
10.
Name:______________________________________________________

Email: :______________________________________________________
Thank you very much! Check web site: www.artworkontheweb.com for FREEBIES

39

Notes to Myself:

“Trust that still small voice that says,”This might work, and I’ll try it.”
Diane Mariechild

40

Notes to Myself:

“Art evokes the mystery without which the world would not exist.”
Rene-Francois-Ghislain Magritte

Pass- it-on: If you have enjoyed this e-book, tell others, as many as you like about it. You have
permission to send this e-book to anyone that you think would enjoy it as long as it stays in its entire
form including all contact information. Forward this to your district art coordinator as a GIFT to art
teachers across the district. I appreciate your assistance in getting the word out about my site and it’s
offerings. Thanks! Blessings, Joan Maresh-Hansen @ jmh5@mac.com

Joan Maresh-Hansen is the CEO of HeArtWorks and Company, and the founder of The Idea
Institutes. She is a dynamic and entertaining speaker. She can be contacted by responding on
the web site or by email. You can find out much, much more about what she is doing in her new
life beyond public school teaching in her virtual art room web site: http//
www.artworkonthweb.com
This e-book may be shared in its entirety, including contact information, freely.
41

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