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You are here: Home / Archives for how to watercolor books

Tom Hoffmann’s New Book on Watercolor Painting

November 29, 2012 by Iskra Leave a Comment

I was thrilled today to receive my copy of Tom Hoffmann’s new book on watercolor, “Watercolor Painting: A Comprehensive Approach to Mastering the Medium,” just out from Watson Guptill. You may know Hoffmann as a painter of incandescent skies and inimitable backstreets, an artist who takes “the unpaintable” and transforms it– he can make the most ordinary extraordinary. Over the course of his career his work has moved through many phases, but always it holds an indelible signature. His paintings are about paint and how it wants to be, combined with wonderful leaps of reduction and abstraction. His best work captures the air and the time of “place”, with a haunting sense of both immediacy and reverie.

This new book provides a valuable and fresh approach to understanding the medium. It’s a big picture view that will fill in what is missing from the volumes that teach you how to render kitten fur or use frisket to paint birch trees in the snow. (Not that these techniques aren’t valuable for any painter’s repertoire……) I am happy to be included in the book with a study for “From One Tree.”

From One Tree Botanical Watercolor Study
“From One Tree” watercolor of laurel leaves on hotpress Fabriano © Iskra Johnson

Hoffmann’s is the latest in a series of truly fine books written by instructors at Seattle’s Gage Academy of Art. Collectively they are setting a new standard for instructional books, many of which are becoming best sellers in their area of expertise. A list of other books by Gage instructors is included at the end of this post. Stay tuned for a book launch party and show at Gage in January. And if you would like to see more of Tom Hoffmann’s work you may visit him at his website.

A selection of books from Gage Academy instructors:

“Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice,” by Mitch Albala

“Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice,” by Juliette Aristides

“Contemporary Drawing, Key Concepts and Techniques,” by Margaret Davidson

“Lessons in Classical Drawing: Essential Techniques from Inside the Atelier,” by Juliette Aristides

“The Artist’s Complete Guide to Facial Expression,” by Gary Faigin

 

Follow the book and see more work by the contributors at the Hoffmann Watercolor Facebook page.

 

Filed Under: Uncategorized Tagged With: books by Gage Academy instructors, how to watercolor books, Tom Hoffman Watercolor Book, watercolor books

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I have been obsessed for well over a decade by the I have been obsessed for well over a decade by the line between the photographic and the drawn. This is simply a media test, or an “under drawing“ for something else, but it gave me pause. It suggests so many different qualities of mood: Foreboding, calm, dichotomy, a family photo poorly developed, the cloudy skies of the Pacific Northwest, or the fugue state one falls into after turning the pages of our days as a failing empire. “Our“ refers to those of us who live in the USA although now it should be called the DU USA, as in disunited United States. That disunity is a powerful disruptive pain that I feel daily. Also, as we phase out medicine, research, medical care, and with that presumably self-care, this was created, for those who are curious, with a cotton ball by #JohnsonAndJohnson (my father’s Swedish ancestors) on a Talens sketchbook. As I said, I’m testing. How much of the world can I take in before I shut the door and become an art nun and don’t look up until the last minute?
Sunday concentration drawing, testing a new notebo Sunday concentration drawing, testing a new notebook( and my attention span. . .)
Today’s mood, from the morning walk. Today’s mood, from the morning walk.
A metaphysical idea waiting to become a drawing. A A metaphysical idea waiting to become a drawing. All day I have been studying graphite, the most evanescent of mediums. Fragility. Once you break the egg, scatter the nest, leave the children without family on an abandoned beach, what then? 

I have spent the day drawing. In the background, which becomes foreground with one click, is the news of the rounding up of another thousand or so human beings by bounty hunters given a quota, thrown into concrete cages and disappeared because someone decided that America is no longer the home of the #huddledmasses.

The plaque on the Statue of Liberty says:

“Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

Noem and Holman have not, apparently, run their hands over these words.

How do you continue making art at a time like this? You chase the metaphor. There is always a constant truth beneath the chaos.
Media studies. Addition and subtraction. Media studies. Addition and subtraction.
Somehow, between checking the news and the usual d Somehow, between checking the news and the usual distractions I managed to complete a drawing. Going back to the beginning: drawings in dust. 9.5 x 12” Charcoal powder, compressed charcoal, charcoal pencil on Moleskine. I feel peaceful for the first time in weeks.

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