World of Watercolor: As a child, were you interested in art? If so,
were you encouraged by your family to pursue your interest? Did you always know you would be an
artist? Were you interested in watercolor from
the beginning?
Linda Moyer: I can't remember a time when I was not doing some
kind of art. My mother was probably most instrumental in my
development as an artist. She had this interest and always
promoted this in my life. I also realize how enriched my life has
been because of her very fertile imagination and her encouragement of
this in me.Other relatives have nourished this aspect of my life as
well...by providing art material.
Although I have always created art, I have not always
wanted to be an "artist". When I started college, I was
in the Chemical Engineering program at Occidental College. I was
in this program for almost two years before I switched majors. One
of the first college art classes I took was "Beginning
Watercolor." Although I took classes in almost every other
medium, I was drawn to the beauty and process of transparent watercolor
and always returned to it.
WoW: How important do you think your educational background is to being a successful artist? What
classes would you recommend as being most important and/or necessary?
LM: For me, it has been very important! Having the strong basic
fundamentals has helped me to grow more quickly and easily. I went
into the Masters Program at California State University, Long Beach in
1975 because I was not making the progress I wanted in my work.
That program helped me to move above and beyond the plateau on which I
was stuck. In fact, I have two Master's Degrees in Art (M.A. &
M.F.A). I felt that I was making so much progress that I decided
to remain in the Masters Program even after I had attained the M.A.
The basic fundamentals are the most important: good
drawing skills, an understanding of how to put a composition together,
color theory...
WoW: Is there a person or factor has influenced you the most? In what way?
LM: I have had several artist "heroes" that
have provided inspiration to me along the way: Robert E Wood --
his handling of transparent watercolor; Wayne Thibaud -- his use of
color and composition; Mary Cassatt -- her subject matter.
WoW: What first attracts you to a subject for a painting? Are you "inspired" most by composition,
color, emotion, etc?
LM: I am always most attracted to the light in the
subject matter. In fact, my subject matter is mostly the light and
the images in the paintings are just vehicles for representing this
light. I am also attracted by the abstract qualities of the
composition - the shapes of dark and light.
WoW: You paint in a series - what is your goal in doing this?
LM: By painting in series, I am able to explore
different kinds of light on a given subject matter and also different
compositional formats. Each painting is only a part of the whole
study.
WoW: Do you work out the design and composition first or just dive in and paint? Do you begin with a
thumbnail?
LM: I plan ahead very carefully. I think that this is
essential for success, especially in watercolor. I usually do
begin with a thumbnail - a very rough thumbnail. I then go through
my slide bank to locate images of the subject matter that will
correspond to my idea for the composition. Most of the paintings
are composites that I have put together from my slide bank. In
order to get the degree of reality that I want in my paintings, I find
that I must work from visual resources. I have literally thousands
of slides (and continue to add more) that are catalogued according to
subject matter.
WoW: What do you find most appealing about the medium of watercolor? Do you use other mediums?
LM: I love its transparency and how color (and light)
can be built through overlays. It seems to be a natural medium for
expressing light. I occasionally will create mixed-media
paintings. I have worked in most media both two and
three-dimensionally but always return to transparent watercolor.
WoW: Would you describe how you apply gold leaf to a
watercolor painting?
LM: The process really is quite easy. I don't
consider myself a gold leaf "expert" but know just enough to
get it on my paper. The paper must be sealed first. I paint
on one or two layers of acrylic polymer medium in the locations where
the gold leaf will be applied (it doesn't matter whether the medium is
gloss or matte). After this is dry, I apply a quick sizing over
the medium. Daniel Smith has a very nice water soluble quick
sizing for metal leafing. This must dry for about 15 minutes -
until just tacky. Then the leaf is applied. I use patent
gold leaf. This has a paper backing to it and is much easier to
use than the loose leaf gold. The application is done by putting
the patent leaf (gold side down) and then just rubbing the back of the
paper with my finger tip. The leaf will not stick where the
surface has not been prepared adequately.
WoW: Which of your paintings do you consider "special"? Why? Describe how it was painted and the
colors you used?
LM: Two paintings come to mind... "The Fifth Day"
(koi painting) was the first painting completed (and the largest) in the
"The Creation Series." It incorporates all of the ideas
that I had hoped to express in this series. This one of the mixed
media paintings and incorporates transparent watercolor, 23 karat gold
leaf, aluminum leaf, and a carp skeleton.
The other painting is "Feather Light #7" (pigeons).
This painting came so easily - I almost felt that someone else was
controlling the brush while I worked. It was as if I could do no
wrong while I was working. I have only had this happen one other
time in a painting.
I work with a very limited palette: cadmium yellow pale, cadmium
orange, napthol red, alizarin crimson, yellow ochre, burnt sienna, thalo
green, thalo blue and ultramarine blue (and sometimes a violet but
usually this is created through the layering process that I use).
WoW: What comes first - the painting, the title or the inspiration?
LM: The inspiration definitely comes first. I
usually will have an image in mind and then I try to develop and express
this image.
WoW: What paint, paper, and brushes do you prefer? Why?
LM: I have used several brands of paints: Winsor
Newton, Daler Rowney and M. Graham. The M. Graham paint is
incredibly saturated - probably the most saturated on the market right
now. It's great!
WoW: What single comment would you say about "color" to a beginning artist?
LM: Know your color theory!!!!!!
Understand the color biases of each tube of paint in your palette and how
these will work with the other tubes of paint.
WoW: How do you think art associations aid in the
growth of an artist?
LM: I think that being part of an art
community is stimulating and important in sustaining an artist's
life. The art associations have provided a vehicle for beginning
artists to show their work and to build resumes. I'm very grateful
for the nurturing that art associations have given me.
WoW: Thank you for your time, Linda. I
know our readers will enjoy and appreciate what you have shared with us.
LM: Thanks so much, Gloria, for giving me the
opportunity to participate in your online magazine!
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