American artist watercolor magazine

Should We Create a Print Version of American Watercolor Magazine with Kelly Kane?

A Message from Kelly Kane

Chances are we know one another from my time as editor of Watercolor Artist magazine, so you understand my passion for painting and watermedia. Now I’m bringing my deep connections and friendships within the watercolor community to American Watercolor with Streamline Publishing. We’re starting with a website and newsletter (American Watercolor Weekly) and hope to begin building our own community with these free resources.

Of course, if you’ve ever seen an issue of PleinAir Magazine or Fine Art Connoisseur, you know the gorgeous publications Streamline produces. Wouldn’t it be amazing to see watercolors reproduced on that beautiful, high-quality white paper? In large format?

My hope is that with your help I can create a print version of this dream magazine available for subscription, where I can bring you the work of the best watermedia artists from around the world in glorious color and give watercolor the quality exposure it deserves.

Streamline publisher Eric Rhoads shares my dream. He wants to double down on watercolor because of his own love and passion for the

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American Watercolor Weekly is not affiliated with American Watercolor Society

Five artists from across the globe share the joys and challenges of plein air painting at home and abroad.
ONG KIM SENG
Singapore

&#;Painting outdoors is always unpredictable. Even if you’re an experienced painter, it can be a challenge. You never know what you might encounter when you set out to paint. Still, it’s much more interesting to paint what is front of you than it is to work from a photograph or an image on a computer screen, where you have to make up what lies hidden in the dark areas of the picture.

&#;I’m inspired by a variety of subjects — cityscapes, seascapes, parks, gardens. I look for scenes with contrasts in value and color. Basically I’m quite a  traditional transparent watercolor painter, so light and shade is important to me. I need good sunlight with strong shadows. It might be a simple scene, but if I can see that the colors will be an absolute draw to viewers, I know it will make a good painting.&#;

JANSEN CHOW
Malaysia

&#;People’s imaginations are limited. And because nature is fickle, the scenery at any given moment will not be repeated. T

Whether it was those scrumptious-looking ovals of watercolor you got in a set as a kid, an encouraging high school art teacher, or the first art workshop you signed up for after retirement that got you hooked, you and I have something in common—a passion for watercolor painting! With so many distractions to lure us away from the studio, it can be difficult to indulge our passion as often as we’d like, and that’s why we’ve created .

Anytime, anywhere, you can tap into tips and techniques from top watercolor artists and instructors, insights from masters past, as well as news about the exhibitions, art societies and competitions that will help you connect with others who share your love of watercolor painting.

And to make sure that you never miss an inspiring detail, we’ll drop a selection of our favorite tips, painting ideas and news right into your inbox each week with the American Watercolor Weekly newsletter.

Welcome!

Kelly Kane,

Editor, American Watercolor Weekly

American Artist Magazine watercolor edition

Watercolor Artist Magazine Article
CREATE REALITY WITH ABSTRACT SHAPES
by Linda M. Gosman
Strategically designed lively shadows and rich luminous washes of transparent color describe the work of New York artist Marlies Merk Najaka. "I want the viewer to experience the same intensity and reaction to the way light bounces through space and transforms a subject and its perceived color that I do," relates the artist, "and to see shadows as more than just a black shape."
To accomplish this, Najaka reveals the subtleties of form, color, and light often overlooked in a seemingly simple still life or hidden in an intricate, denser subject by zeroing in on her object of interest and then reducing its components to their simplest forms. "My goal with every painting is to see how much I can leave out rather than how much I can put in," states the artist. She effectively combines similar values, shapes and colors in the picture plane to provide the foundation for her work. "Although my subjects appear to be realistically rendered," explains Najaka, "they are actually composed of abstract shapes.
A graduate of the Parsons School of Desig

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