Friday Feature: Iain Stewart

"Thurlow Dam from Fitzpatrick Bridge-Tallassee Alabama" 13"x9" original watercolor by Iain Stewart

I thought I would share Iain Stewart's Friday Feature with you today.  I'm a big fan of Iain's work and am happy to call him a friend.  Leslie and I interviewed Iain this past Thursday on Artists Helping Artists and it was a fabulous interview.  In a very short amount of time Iain has rocketed to the top in the watercolor world.  His most recent accomplishment is the cover of Watercolor Artists Magazine, June issue.

To see more of Iain's work check out his website and Facebook page

If you want to see more paintings by him check out his blog and website.

How did you get your start?  What’s your artist journey so far?

My father is a watercolorist. Muir Stewart. I’ve watched him paint all of my life. That being said, I do consider myself mainly self taught. I know that sounds strange, but my father was not big on formal lessons. I’ve had maybe two or three from him between the ages of 10 and 18. I didn’t start painting in earnest until University. I am trained as an Architect and quickly moved into architectural rendering after graduation. Presentation was always a strong point of mine. I had thoughts of doing gallery work, but found myself too busy. That all changed in the recession. Looking back I wouldn’t change a thing on my end. I was able to commit almost full time to a serious exploration of how I really want to paint. If I look at work from even 3 years ago I feel that I’m light years past it now.

"The Water house, Staithes, England" 14"x14" original watercolor on paper by Iain Stewart

 Where were you born?

I was born in Glasgow, Scotland.

If you could live anywhere where would you live?

I’m fairly happy where I am now, but if we’re opening up real dreaming here I’d have multiple residences and do sort of a migratory progression to each one. Still, Europe, is really high on the list if we’re choosing just one.

"Santa Maria del Fiore" original watercolor on paper by Iain Stewart

 What’s your favorite thing to paint and why?

Cityscapes. No question. As an architect I’m drawn to the built environment naturally. Still, I think it has a lot to do with how different elements become layers in such distinct ways. The buildings themselves are static, but at street level you have this beautiful orchestration of movement and energy. I also find the depth that can be achieved by taking a view from the middle of the street fascinating, although taking reference photography can get tricky.

Could you talk about your painting techniques?

My style seems to evolve rather quickly so I’m rarely tied to a specific technique. I’m very willing to test new ideas and to a certain extent embrace the failure as much, if not more, than success. I tell my students if you’re going to muck it up then make it a spectacular failure. I try to hold on to that myself.

As far as actual technique goes I believe you must build from strong drawing skills. Real comfort with a pencil will naturally extend to your brush. In drawing interest is achieved by mixing line weight, stroke, and texture. This is the same with watercolor. If I find myself becoming too careful that is usually a good indicator that on the next pass I need to loosen things up.

"5th Ave from Washing Square Park" 17" x 7.5" original watercolor on paper by Iain Stewart

 Do you always work from a sketch or do you use photo references?

Both. A camera is invaluable when time is limited or you want to document a lot of information. The problem that arises when only using a camera is I find that I don’t actually become immersed in a subject. I need to work on location to continue to learn how to simplify what I see and get at the heart of the subject. I don’t think this can be done by only referencing photography. The work I do on site is selfish and all about me and how I see things. I know it will rarely be viewed by others. It’s my favorite work.

How did you arrive at your current style?

This is where we do get back to my father. He likens my artistic education to that of a farmer’s son. The son watches the father milk the cows and bring in the hay, or what have you, and he learns how to do those tasks. I’ve watched my father paint my entire life and there is a huge amount of him in me. I think I’ve only recently begun to paint in what could be called “my style.” The breaking away from my father is crucial in claiming my own style. I think it’s safe to say I don’t paint like him now. You’ll always see a little Muir in my work and I’m happy in that, but it’s more important that you see me.

"Sunlit Corner NYC No 1" 10" x 14" original watercolor on paper by Iain Stewart

 Do you have a favorite artist?  Who has been your biggest inspiration?

Ok, these keep coming. Muir Stewart. www.muirstewart.com See what I mean?

What are some of your favorite things or things that are essential to your well being/success as an artist?

Drive. The need to paint. Taking joy in the process of painting and allowing yourself to be selfish without feeling guilty about it. That last one requires a very special partner in life. Painting time is my time. It’s my job, but it’s more than that. It changes how I view the world. Once you learn how to use your artist’s eye you can never go back. Most importantly you have to enjoy, and I mean damned well love, what you do.

"St. Charles Line at 4th" 15.5" x 6.5" original watercolor on paper by Iain Stewart

 Do you have go-to paints/colors, what are your favorites?

Winsor and Newton without a doubt. My go to colors are cobalt blue, burnt siena, french ultramarine, raw umber, yellow ochre, light red, alizarin crimson, and neutral tint.

What are five things you would like to happen in your life in the next five years? Dream big here:)

Can you do watercolor in zero gravity? I made a 5 year plan 3 years ago. I’ve checked a lot of dreams as realized off of that list. I am unbelievably thankful for the direction my career is moving in. Quite simply I want to make a comfortable living doing what I love. I think that’s dreaming big. Ok, and maybe a few homes scattered here and there where I could have a sort of traveling artists colony thingy set up. Also a sailboat. A big one.

"Tallassee Alabama No 2" 10" x 6" original watercolor on paper by Iain Stewart

 What is your advice for other artists who are just getting started in their career?

Plastics my boy. There’s a future in plastics. Seriously though, don’t do it unless you love it and be prepared to do other things in support of it. Find someone who is abundantly patient and don’t ask them to look at your work as soon as they walk in the door. Most importantly, enjoy it. I don’t subscribe to the tortured artist thing myself. It seems to work for Morrissey, but I have to like what I’m doing.

What is the best advice that you have received as an artist?

Paint a sky a day.

 SPEED ROUND!

Chocolate or vanilla? Both.

Sunny beach or rustic mountain retreat? Both- preferably one after the other and repeat.

Book or movie? Book before movie.

Favorite author? P.G. Wodehouse.

"Dirty Santa" original watercolor on paper by Iain Stewart

 Favorite movie? At this time of year? Bad Santa.

Romance or comedy? Comedy.

Favorite ice cream flavor? Rocky Road.

Night owl or morning person? I’ve had a lot of fun over the years taking the night owl side on in to morning, but nowadays. Morning person.

Cake or Cupcakes? Both.

Thank you so much Iain:)  Wonderful interview!

 Carrie

Friday Feature Richard Stephens

"Fishing Village" watercolor by Richard Stephens

It's another Friday, hard to believe.  I'm still in the throes of a move but I'm taking a little time out to post this amazing artists work.  Richard came on my radar when we were in the same Watercolor Artists Magazine, this month's edition, June 2013.  Richard posed the creativity challenge for this issue.  He paints fast and loose, the opposite of my style so I was very intrigued. I then read that he resides in Hot Springs and I told my husband I'm going to have to look him up when we visit Hot Springs.  Low and behold, Richard was scheduled to do the demo for the Mid Southern Watercolor Society's May demo.  I was so excited to get to meet him and see him paint.  Watching an artist paint in a completely different style from my own is invigorating to me and makes me want to stretch as an artist and try new and different styles.  So who knows you might see me flinging paint around sometime instead of meticulously painting with "eyelashes" as Richard calls small brushes:)  

To see more of Richard's work visit his website.

"Two Houses" watercolor by Richard Stephens

How did you get your start?  What’s your artist journey so far?

My professional art journey began right after college. Serving in the Army in the early 70’s, my MOS was that of “Illustrator.” After the Army, I went to work for a small advertising agency/design studio in Little Rock, Arkansas. Of course, this was long before the computer and we produced all our designs, layouts and presentation comps by hand. After three years with the agency, I moved back to my hometown of Hot Springs, Arkansas and opened Stephens Commercial Art. Forty years later, I still do some graphic design work. About 20 years ago I rediscovered my fickle old friend, watercolor, and fell back in love with her. For the past 15 years or so my focus has been on my painting and developing/promoting my workshops. I truly love to teach, travel, meet fellow artists and share my passion for watercolor with my students.

Perhaps an interesting aside: For the past year I have been producing editorial cartoons for our local newspaper. I call them “typetoons,” as I mainly use typography to make my political or social statements. I try to find an interesting “twist” to the wording or even an individual letter that might change or enhance the concept. My first love was cartooning and I have done a lot of it professionally, but I am really enjoying the challenge of using my graphic design background in an unexpected context.

Where were you born?

I was born and raised in Hot Springs, Arkansas. I am the youngest of three sons. Our parents were both schoolteachers. Perhaps that’s why I have such a love for teaching.

"St Johns" watercolor by Richard Stephens

If you could live anywhere where would you live?

At risk of sounding corny, I could not be any place any better than where I am … my hometown of Hot Springs National Park, Arkansas. Our beautiful city was gently placed in a valley surrounded by lakes and mountains. It has a colorful history and of course, the thermal waters that are the namesake of the city. 

Author John Villani ranked Hot Springs 4th in the 2005 edition of The 100 Best Art Towns in America because of the wonderful architecture, an internationally recognized classical music festival and one of the top documentary film festivals in the country. More than 300 artists live and work here: a very high percentage for a small community in the South. We are also the home of one of the longest running “Poetry Nights’ in the country and have observed our First Friday Gallery Walk continually for over 30 years … never missing a night!

I could go on and on, but I would rather folks visit and discover this hidden treasure that is Hot Springs … my hometown.

"Steve Suter" watercolor by Richard Stephens

What’s your favorite thing to paint and why?

I’m not sure I have a favorite. At one time I did a lot of architectural/urban scenes, but I also love faces, figures and landscapes. I will often combine all in my paintings … an architectural scene with figures and organic elements of landscape to complement the man-made structures. When I started teaching workshops, I realized that flowers were a very popular subject for many of my students. I had never painted flowers, but quickly learned and now really enjoy the spontaneity and looseness the subject offers.

I have been part of a weekly life drawing group for over 30 years. To me the figure is the most difficult of subjects. Those few drawings/paintings that really “work” are very satisfying and rewarding. I have painted a lot of musicians over the years. Perhaps as a way to participate in the music … as I have absolutely no musical ability. Though I don’t do a lot of traditional still life paintings, I do enjoy their challenge of design and technique.

Let me say, I probably draw more than I paint. I love to draw. Good drawing is the skeleton of any good painting. I don’t know any really accomplished watercolorist that doesn’t draw well.

"Willie" watercolor by Richard Stephens

Could you talk about your painting techniques?

“Don’t try to make it happen, let it happen.”  That pretty much sums up my painting technique.  I realize that is an oversimplification, but it is the mindset I try to keep. The water, brush, paper and pigment can do some wonderful things together if I, the artist, will keep my involvement to a minimum. The important time for me to do “my thing” is before I put pigment to paper. Working out the design and composition of the elements through value sketches, simplification of the subject and shapes, determining the values to ensure there will be areas of high contrast. Basically paying attention to the Elements and Principals of Design.

In terms of actual painting technique I try to create loose, juicy and spontaneous watercolors. To do so I must be willing to take chances, to mess up and learn from the experience without being discouraged. I use the word ”PLAY” a lot in my workshops. I have finally reached the point of going into my studio to have fun and not worry too much about the end result. When I can keep that attitude the end results are often just fine!

I paint very quickly, seldom spending more than an hour on any painting from full sheets on down. I mainly use large mop brushes and paint on an angle to let gravity help the water/pigment mix naturally on the paper. I try to paint from large to small, light to dark while consciously trying to alternate warms and cools. I keep “tricks and gimmicks” to a minimum, but usually include some scraping and discrete splattering. A spray bottle is an important tool for me … helping the paint to run and mix, changing values and adding mystery and atmosphere to the painting.

I think, like most painters, my technique is always changing, morphing into something different. We try new materials, a new brush or unique colors. But there is one very important constant: that is design. I strongly feel that good design will go a long way to make up for average or maturing technique. But great technique WILL NOT make up for poor design.

"May Flowers" watercolor by Richard Stephens

Do you have go-to paints/colors, what are your favorites?

Besides the usual variation of the primaries, I do have some colors that are an important part of my palette. Quinacridone Gold seems to find a place in all my paintings. I love its intensity and transparency. I usually use Alizarin Crimson and Winsor Blue to make my darks, leaning toward the warm or cool as needed. Turquoise is often an unexpected addition to my paintings. Seldom as an actual local color, I will use turquoise to enliven an unexciting area in a painting. The same can be said for a bright orange or a pumpkin color. I am also very candid about the fact I always have a tube of White Gouache handy. I will use it to reclaim tiny highlights or even to mix with transparent colors if it will help “save” the painting. I consider myself more of a value painter than colorist. If I get the values right the colors will work. I do try to always be thinking warm/cool - light/dark during my painting process.

Do you have a favorite artist?  Who has been your biggest inspiration?

There are so many American watercolorists I admire. I would have to name Andrew Wyeth, Winslow Homer, John Pike, Edgar Whitney, Charles Reid, Frank Webb, Don Andrews, Carla O’Connor, Fred Graff, Dean Mitchell, Stan Miller, Thomas Schaller, Iain Stewart and many, many others. Tony Couch has produced some of the best instructional material for beginning watercolorists I’ve seen. He is a great “designer” of paintings.

Internationally, I love the work of John Singer Sargent, Alvaro Castagnet, Joseph Zbukvic, Robert Wade, Eugen Chisnicean, and Dave Taylor, plus too many others to name.

I truly think my students are my biggest inspiration and motivation. They keep me learning, wanting to grow and get better, both at painting and teaching. I don’t want to get stale and predictable. I challenge them, they challenge me.

What have been some of your crowning achievements?

That’s an easy one. I am most proud of the fact that I have been able to spend my entire life and career as an artist in a small (but special) town in Arkansas. I have made a living doing what I love, being my own boss and basically being in control of how I spend every day. That is my crowning achievement!

A minor achievement would be a certain amount of recognition for my work by my fellow artists through awards and publication. A not so minor reward is in knowing I helped start a few of my students on a serious path with watercolor. And then there is always the paintings themselves. We all have a few that will always be special for various reasons. I have either kept those paintings or given then to close friends, so I get to visit them once in a while … the paintings and the friends.

One of Richard's "Typetoons"

What are five things you would like to happen in your life in the next five years? Dream big here:)

1. That I am granted the health (eyesight) to continue painting for years to come.
2. That my workshops take me to locations and people that I find educational, fun and challenging.
3. I have never had a painting accepted into an AWS or NWS Show. That would be nice.
4. I would love for my “Typetoons” to be syndicated.
5. Read number 1 again!

"Eureka Springs Chef" watercolor by Richard Stephens

What is your advice for other artists who are just getting started in their career?

In my opinion, this word “talent” is greatly overused. When I was a very young kid I loved to draw. So I drew a lot, a whole lot actually. I drew all the time, so said my parents. It was fun; I loved it … so I drew even more. Other kids were doing other things, music, drama, dance, sports (I did that too), academics, working on cars … whatever. Well, by the time I was in junior high, I was “the artist”, the “talented one.” Years later I realized I didn’t have any special talent; I had just worked at it more, much more, than the other kids. They had worked at, and became good at, what they loved and enjoyed. 

So my advice is recognize that THE TALENT IS HAVING THE PASSION. Without that, go do something else you care about, something you enjoy. Becoming a good artist is about working, working, and then working some more at it. There are no shortcuts. You can’t learn it by reading about it, by watching DVDs or live demos, by taking workshops, or by creating the perfect studio space and having the best of supplies and materials.  You get good by doing it, by working hard at it, by failing and making tons of mistakes and by learning from those mistakes, then trying again. That’s how you become “talented”!

"Fountain of Light" watercolor by Richard Stephens

What is the best advice that you have received as an artist?

Years ago I took a workshop from Alvaro Castagnet and stood right at his side as he produced about 10 plein air demos. That opportunity had a great influence on my work. Now that influence is a much quieter part of my painting voice … but it’s still there. 

On about the fourth day, Castagnet took me aside, looked me straight in the eye and said, “Richard, you can be as good as you want to be at watercolor. But it has to be totally important to you and you must be committed to the work required. It’s up to you.” Then he walked away.

Well, to say the least, that was pretty powerful advice!

Richard and I

SPEED ROUND!

Chocolate or vanilla?

Twisty Combination

Your dream vacation spot?

Australia

Book or movie?

Book

Favorite author?

James Lee Burke

Favorite movie?

Of late, Lincoln

Romance or comedy?

Comedy, with a dash of Romance

Favorite dessert?

Ice Cream…really any flavor

Night owl or morning person?

Whoot me?

Thank you so much Richard:)

Watercolor Artist June Issue

"Anticipation" top image was my submission for the "What Do You Love" Watercolor Artist competition.  Beyond thrilled to be and Honorable Mention Winner.

So when I first started painting seriously about 3 years ago I made my out of the world dream list.  On my dream list was to be published in one of the big art magazines.  So it was a surreal moment this weekend to get my advanced copy of June's Watercolor Artist Magazine.  On page 55 I have a painting published.  Pretty crazy stuff!!!  I have been on an incredible journey so far.  I have had my ups and downs and seeing my painting on page 55 just makes me want to work even harder.   My late night painting sessions, lack of sleep, and obsession with painting are paying off.  I can not wait to see what the future holds.  I sooooo appreciate my blogging and facebook friends.  I am so motivated every time I post something and hear from you.  The encouragement and advice is invaluable, I feel so fortunate to be an artist at this time.  So thank you from the bottom of my heart.

Carrie