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The article focuses on the use of zinc white gouache with transparent watercolors by artist John Bowen to add texture to his paintings. Most of his paintings are created from photographs taken as he travels through Florida and around the U.S. He initially draws the image of a complicated scene on a sheet of tracing paper and then transfer it onto the watercolor paper. He applies several layers of wash to the paper, especially in the darker areas of the scene, during the course of painting. INSET: Bowen's Four Suggestions for a Successful Watercolor.

The article focuses on American artist Judy Hoiness and her methods of combining calligraphy and watercolor. It explains how she successfully integrated the two forms of expression and developed a distinct style which she uses to express her passion on issues about the environment and women's concerns. Techniques with transparent watercolor, gouache lettering, and masking fluid on freezer paper are discussed, as well as the incorporation of rubbings with watercolor. Her affiliations and achievements are also mentioned.

A personal narrative is presented which explores the author's experience of painting with transparent watercolor with professional guidance from several workshops.

The article discusses the approach of watercolorist and instructor Sheila Boylan Parsons which deals with selecting and focusing on the emotional essence of a scene. Her approach involves choosing a two-word working title that will solidify and define the painting. Emphasis is given to not overworking a painting to involve and intrigue the audience. The watercolorist's interest in transparent watercolor is also described.

Shows some of the works of wildlife abstractionist, Morten Solberg, a painter who works mostly in water-based media. Training at the Cleveland Institute of art and background in commercial art; Pieces of his works at the National Gallery of Art in Washington, D.C.; Several examples of his work.

The article discusses the benefits of using the airbrush in painting and presents techniques that achieve unique effects with transparent watercolor, gouache and acrylics. It mentions three factors for determining the right kind of airbrush which includes the painting medium to be used and the needed flow rate of the paint. It offers a step-by-step demonstration of how an airbrush was used in creating "Heirlooms With Cherries," ways of mastering the four basic forms and some warm-up exercises.

In this article, the author offers tips on how to use the Kosvanee Transparent Watercolor Wheel to create transparency in watercolor paintings. The wheel contains the inner ring for clean transparent colors, third ring for stained transparent colors, and an outer ring for brightened and darkened colors. A discussion on the four categories of colors namely, transparent nonstaining colors, semitransparent nonstaining colors, transparent staining colors and semiopaque/opaque colors, along with the offered guidelines, is detailed.

The article features five watercolorists and their passion for maritime subjects. Frank Wagner has created paintings about yacht races. Lou Bonamarte of Niantic, Connecticut has created transparent watercolor artworks inspired by the coastlines of the state including "Martha's Porch" and "The Nina, Pinta, and Santa Maria in New London Harbor." While boats are reportedly the preferred subjects of Robin Sticker.

The article presents the views of artists on the role of the white paper in providing transparency in watercolor painting. Katherine Fell from Santa Rosa, California reportedly finds the white paper convenient because its natural color saves the amount of white paint being used in paintings. Mary Barton from South Padre Island, Texas believes that the white paper can represent the sunlight at its brightest when the right size, shape and placement of the whites are applied.

The article explains an artist's technique for layering with transparent watercolor to achieve texture and mood. California artist Pomm Olsen has mastered the effect of fresh and natural light in her paintings by applying six to seven thin washes of brilliant color. The effect of Olsen's paintings sustains the viewer's curiosity in the presence of elements such as windows and doorways. Olsen's materials consist of pre-soaked watercolor paper, Winsor & Newton watercolors, and sable watercolor brushes.

The author describes his painting approach using transparent watercolors. He relates that he uses only four to five colors in painting. An entirely loose and free watercolor technique is said to be his favorite style of painting. According to him, one important aspect of watercolor painting is that the colors dry lighter than when they are wet.

The article features Madison, Connecticut-based artist Suzanne McWhinnie, member of the New England and Connecticut Watercolor societies. McWhinnie uses transparent watercolor to create art portraying her subjects which are often still-life arrangements of glassware, silverware, machinery and flowers. She uses the full range of light and dark colors to provide visual impact on her paintings.

The article discusses elements of watercolor painting. It examines how opaque paints are used and describes methods to mix work in opaque and transparent paints. It explains reasons tinted paper is preferred over white paper when using opaque watercolors. It also explores casein as a painting medium.

The article offers information on various events to be held by the watercolor societies in the U.S., including "Celebrate Watercolor" by the Transparent Watercolor Society at the Elmhurst Art Museum in Elmhurst, Illinois on July 17, 2004, 33rd Annual Exhibition by the Florida Watercolor Society at the Gadsden Art Center in Quincy, Florida on August 16-19, 2004 and The North American Open Juried Show by the New England Watercolor Society at the Bennington Center for the Natural and Cultural Arts in Bennington, Vermont on July 31-September 5, 2004.