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You are here: Home / Uncategorized / Tom Hoffmann’s New Book on Watercolor Painting

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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the creative process | conversations with artists | the contemplative impulse in art

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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.
The train tracks that go along Golden Gardens and The train tracks that go along Golden Gardens and pause briefly at the locks create a rupture in the city landscape. When the trains go by, the roar and squeal is like a thousand wild animals let out of their cage, and the ducks in the pond at the edge of the park shudder and dive under the water. A little farther north at Carkeek there is someone every year who steps in front of the train and whoever witnesses that is never the same. 

Sometimes the cargo containers are filled with coal, uncovered, and I have been part of demonstrations, which included polar bears and Orcas, objecting to that. Now, as we are being asked to casually accept nuclear reactors on every block as the price of having artificial intelligence, coal and its simple visible dust might look a little more friendly. The train brings with it economics and politics and life and death and class and all the people on the beach are just trying to have a moment in the sun. And the boaters at the marina, if they have finished polishing and descaling and mending the sails are lying back with a guitar and getting lost in the mountains. If you are willing to live right next to the train tracks, you can pay a much lower price for your home, but your dreams will change. I have lived next to the train tracks when I was very, very small and every night I woke up screaming and ran across the floor in the beams of the streetlight looking for safety. I have woken up in a train yard on a bed of cardboard and gotten on the train in the dark. Only when you do that, do you know just how hard metal is.

I’ve been drawing recently from life and this study was done from a photograph. It drove me crazy trying to see details that I couldn’t really see and feel them with the pencil. I’ve abandoned the drawing for now, but I learned a great deal about perseverance and obliteration and re-perseverance. Also how machines pretend that they are perfectly symmetrical and are not. And when you don’t draw them with perfection, they look just plain wrong so you have to make them more perfect than they are, at least when they are in perspective.
Tonight’s abandoned bird. The next one will be bet Tonight’s abandoned bird. The next one will be better. I’ve never tried to draw a Robin before. I’ve been obsessed with them since David Lynch sent them over to my childhood house, where they spent day and night getting drunk on the holly berries outside the kitchen window. And if you don’t know what I’m talking about google Laura Dern, Blue Velvet. And the Robin. It’s a hymnal to the good and the normal, done absolutely abnormally. I am learning all kinds of amazing things about how Robins build their nests. They start with mud. I did not know this. And in a drought, they will drag straw into a birdbath to get it wet and then drag the straw over a wormhole. Robins build their nests in the most unlikely places: drain spouts, highway overpasses, really bad motel parking lots. It’s kind of like how people find third place in community, even in the bleakest places. A franchise McDonald’s where people become regulars and always get the fries and just the fries because that’s all they can afford is a similar statement of naive valor: people talking to strangers and becoming known and taking shelter where they can. And if they leave a shredded napkin out there by their car, it will end up woven in with the straw and the leaves and the cigarette butts perched up there in the nest on the backside of the billboard.

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